•I'illlllMng Nature

inPEN & INK

with WATERCOLOR

Claudia Nice

v,^.V.
 BELVEDERE TIBUROIUSlUiRY

^/ BEL-TIB NEW BOOKS

'H
741. 26 NICE 1998
Nice, Claudia, 1948-
Painting nature in pen
ink with watercolor
31111017799550

DATE DUE
JUL Q 6 199j
MAR 072)01

AP^ 2 5 mi

» '.' I 17(«M l-iinlr,! in I SA

 M
Painting Nature t '/C^j^Mr
in PEN & INK
with WATERCOLOR 1
"^mr^m^-'frn
Claudia Nice

a
NORTH UCHT BOOKS
CINCINNATI. OHIO
1

ly y

i
m 4.

^BlSIIiK
\
 —

ABOUT THE AUTHOR

Claudia Nice is a native of the Pacific Northwest and a self-taught artist, develop-
ing her realistic art style by sketching from nature. She is a multi-media artist, but
prefers pen, ink and watercolor when working in the field. As an art consultant
for Koh-I-Noor Rapidograph since 1983 —and more recently for Grumbacher
Claudia has traveled across North America conducting seminars, workshops and
demonstrations at schools, clubs, shops and trade shows. Her oils, watercolors
and ink drawings have won numerous awards and can be found in private collec-

tions across the continent.

Claudia has authored twelve successful art instruction books, including ^y^^/r//-

ing Your Favorite Subjects in Pen and Ink and Creating Texture in Pen and Ink With
Watercolor, both of which were featured as main selections
in the North Light Book Club.
When not involved with her art career, Claudia enjoys
hiking and horseback riding in the wilderness behind her
home on Mt. Hood in Oregon. Us-
ing her artistic eye to spot de-
tails, Claudia has developed
skills as a man-tracker and is in-

volved, along with her hus-

band Jim, as a wilderness
Search and Rescue Volunteer.

Alicz
Painting Nature in Pen and Ink With Watercolor, Copyright © 1998 by Claudia
Nice. Manufactured in China. All rights reserved. No part of this book may be
reproduced any form or by any electronic or mechanical means including
in
information storage and retrieval systems without permission in writing from the
publisher, except by a reviewer, who may quote brief passages in a review. Published
by North Light Books, an imprint of F&W Publications, Inc., 1507 Dana Avenue,
Cincinnati, Ohio 45207. (800) 289-0963. First edition.

02 01 00 99 98 5 4 3 2 1

Library of Congress Cataloging-in-Publication Data

Nice, Claudia
Painting nature in pen and ink with watercolor/ by Claudia Nice
p. cm.
Includes index.
ISBN 0-89134-813-1 (hardcover)
1. Pen drawing —Technique. 2. Watercolor Painting —Technique. 3. Nature
(Asthetics) I. Title.
NC905.N528 1998
741.2'6— dc21 98-12672
CIP

Edited by Jennifer Long

Production edited by Patrick Souhan and Michelle Howry
Designed by Brian Roeth
 1 dedicate this hook to my naturalist friend \\ innie, \Nho taught me wilderness
wisdom, and to my adventurous friends Becky, Jan, Nellie and Jeanne, who
taught me the meaning of kindred spirits.

My deepest thanks anil respect to the lather of all creation, who blessed the
earth with so much beautv and di\ersitv.

BECKY ON RKBEL CRKKK

f-
ATTHE EDGE OF THE MARSH, 8" X 10" (20cm X 25cm), VVatercolor textured
with ink stippling, spatter, plastic wrap and thread impressions.
 INTRODUCTION
CHAPTER ONE

GETTING STARTED 8

CHAPTER TWO

THE FOREST FLOOR 18

CHAPTER THREE

TIDE POOLS AND

TROPICAL REEFS 38
CHAPTER FOUR

FIELDS OF FLOWERS 58
CHAPTER FIVE

DESERT DRYLANDS 76

CHAPTER SIX

PONDS, SWAMPS
AND MARSHES
CHAPTER SEVEN

MOUNTAINS, CRAGS
AND CREVICES
INDEX
jrv-^^iy.

:^*

//

¥
THE YEARLING — PSALMS 37, 16" X 20" (4().6cm X 50.8cm), oils
 —

INTRODUCTION

To become one with nature is to enjoy life to the fullest. For me it's not

enough to stroll by and view it from afar, like a spectator at a game. I need
to move in close — to touch, to sniff, to ponder and become part of my sur-

roundings, if only briefly. Only then can I begin to j^-^" what I'm looking at

to perceive the shapes, textures, colors and contrasts that excite my "artist's

eye." Familiar sights, sounds and smells recall nostalgic memories, while the
uiifaniiliar in\ ites the child uithui to come out and explore. The result

damp shoes, dirty knees, w indblown hair and a greater love and appreciation
for the puzzle pieces of this world and the touch of the Master's hand who
orchestrated it all.

I will always remember when I visited Mt. Lassen, California, in the early

spring. I followed a doe and her yearling fawn part way around a lake, trying

to get close enough to take a good photograph. After a while, I tired of the

chase and settled down in a shady pine thicket to rest. There I sat, in a deep
bed of pine needles, my back against a tree and my mind tuned into the
forest sights and sounds. I was totally at peace. vSilently, from the edge of
the thicket, the two deer appeared. With little hesitation, they bedded down,
the yearling literally at my feet. Her eyes held no fear, only curiosity. The
light filtering down through the tree limbs edged the deer's coat in gold.

Did I get my photo.'' Vou bet! It has been the basis for many sketches and
paintings, including the one on the opposite page.
It's my hope that this book will encourage you to seek out and sec the
wonders of nature close up. with an artist's eye, and that the hints, notes and

examples on these pages will help you capture your discoveries with pen
and brush so thev mav be shared and remembered for many years to come.
Best wishes.

C^a/i(^ ?^oay'
 —

CHAPTER ONE

GETTING STARTED

MATERIALS Pen is similar in usage to the Rapidograph, but differs some-

Good tools and art supplies are essential to the success of what in design, the inner workings being "sealed." Draw-
a project. The learning process and the joy of creation can backs for the Artist Pen are that you don't have a choice of
be greatly discouraged when the artist has to fight with his inks, and empty pens are not refillable.

or her art equipment in order to succeed. You need not buy Dip pens are very economical, consisting of a plastic or
the most expensive tool, but you must learn the nature wooden holder and changeable steel nibs. With Hunt nibs
of each implement to choose wisely in an affordable price no. 102 (medium) and no. 104 (fine), the Crow Quill dip
range. pen will provide a good ink line. It cleans up easily and is

useful when many ink changes are required. The draw-

backs are that Crow Quill pens are limited in stroke direc-
Watercolor paper tion, they must be redipped often and they tend to drip
Choose a paper that is compatible to penwork, as well as and spatter.

wet washes. The paper should be polished enough to allow

the pen to glide over its surface without snagging, picking

up lint or clogging. The ink should appear crisp. On the Ink

other hand, the watercolor paper must be absorbent enough For mixed media work, choose an ink that is lightfast, com-
to avoid permanent buckling when wet-on-wet techniques patible with the pen you are using and "brushproof
are used. Taping the edges of the paper to a board while which means that it can withstand the vigorous overlay ap-
painting will help the paper maintain its original shape. I plication of wet washes without bleeding or streaking. Per-

use a cold-pressed, 50 percent rag, medium weight (125 lb. manent inks are not necessarily brushproof and must be
or heavier), pH neutral paper. tested. For a very black, brushproof India ink, I recommend
Koh-I-Noor's Universal Black India 3080.
For softer, more subtle ink lines, choose compatible,
The pen brushproof colored inks. Transparent, pigmented, acrylic-
The ideal pen has a steady, leak-free flow and a precise based inks are preferable, as dye-based inks often fade
nib that can be stroked in all directions. This book was quickly. I used Koh-I-Noor Drawing Ink 9065 for the col-

illustrated using Koh-I-Noor Rapidograph pens. They con- ored inkwork in this book. However, the white and black
sist of a hollow nib, a self-contained, changeable ink supply 9065 are not recommended for technical pens.

and a plastic holder. Within the hollow nib is a delicate wire

and weight which shifts back and forth during use, bringing
the ink forward. The Rapidograph comes in a variety of Paint

sizes, 0.25 being the one used most often in my work. Look for a watercolor paint that has rich, intense color, even
(Throughout this book, the nib size I used for each sketch when thinned to pastel tints. It should be finely ground
is noted in parenthesis near the artwork.) Two drawbacks and well-processed, so washes appear clean, with no particle
of the Rapidograph pen are cost and maintenance. Like residue. Colors should have high lightfast ratings. While
any instrument, the Rapidograph requires proper care and there are many quality brands to choose from, the paintings

cleaning. in this book were done with Grumbacher Academy and

A more economical and maintenance-free version of the Finest watercolors. Whichever brand you choose, remem-
technical pen is the disposable Artist Pen by Grumbacher. ber that it's better to have a limited palette of quality paints

It comes prefilled with a quality, brushproof ink. The Artist than a kaleidoscope of inferior substitutes.

8
Brushes
The best watcrcolor brushes arc made of sable hair. Soft,

absorbent sable brushes are capable of holding large

amounts of fluid color, while maintaining a sharp point or

edge. They respond to the hand with a resilient snap. I low-
ever, they are expensive. A good sable hair blend or (|uality
synthetic brush can provide an adecjuatc substitute. Avoid
brushes that go limp and shapeless when wet, or are so stiff

they won't flow with the stroke of your hand. Here's an

upkeep hint — use your watcrcolor brushes only for

watcrcolor.

-^
'wiYtCCt 'pYt/^sfu C/x-^i ") — ?or Suc^ojYov/ncCujdshes
for scr{u>i^a

Siroki orffnt bru.5hef> (m 8^6 ) -

^or cCttailA^a curuC stvuCC C4/ti5f? oyriuis.

Other useful tools

• Pencils and eraser for sketching
• Liquid frisket (masking fluid) to protect white paper
areas
• Old round brush or The Incredible Nib (felt tip) for

applying frisket
• Masking tape for taping paper edges and removing liq-

uid frisket
• Stylus or toothpicks for bruising
• Rock and table salt, alcohol, plastic wrap, spray mister,

etc. for texture

• Tweezers for placing rock salt, leaves, etc.

• Razor blade for scratching through dry paint

• Several small sea and synthetic sponges for daubing
• Facial tissue and paper towels for blotting

For additional information on tools and lechnitpies, refer

to my other books Sketching Your Favorite Subjects in Pen

and Ink, Creating Textures in Pen & Ink With Watcrcolor and
Drawing In Pen and Ink, all published by North Light Books.
 3i^5to Vcri/ Shroimm ^ofmu^MS

Lvmj^TMMvm Holt-
Wlm/naCi/m.s
fimfUiMs Pi/re 5i4^mesutc(y Uos&r tocjtth£/f
wlWcI smfCey oidlmu or Cme/rmcj
proc(ucts
uCcurkur
Coniou/r [yrms
Smootfil^ i^iMnn Cim5
tfwit 5ejm. to ujmp
arcMmCtht 5wrfiict
oftfuio5j'cpt^ilmi
/
curt pQjytctmyj.

. Srnooifi cwrvtcC

>
poCtslin(/5iM/iius
-fC-vdcOmoiuyny

Gross fmyicfimu
j

%ao or mart 5e£5 oj

contour or poA^aXCeCCwe5
ifwip (wt sbrolmCnu ctifforem/
uCvrejotwns cmc^i/ybtofsu^.
OB simmfit Of? •
^(wf)em, honaC vdCwi'p (sfmdcfwsj
tfiL Human
*Lrtu\,ttrohUjfie/nJidtextoort ,

tfwm, txtmi^iA
to mad, prtuswri mwC ni6'

• smooth^ fCai of^'tch

romH^ -focjy \h/rkm35 etc.

• Vistomt o5jtoi^s.

10
•/ 'J.-.''.
'
S^iil

fi/ ^trit'b of ({ois

toucdmcj tnt peM^

ni5bthip[ipe^ ,

iA/fii{o Ptjl ptru irS

3V--^:
po5ition^

. nwiCii pa/rticCo Cooky

t, vdvtiiA
iMrpepuTPi/nck^

Conivnoiou.^^ Coopvna,
fra^forrru iiMl5 ^

. mack/ 5(iJi'iof\Le>

• foCvaat/ i ^771053
Crisscross CwjbS

'J^s-
ifuist mc TiwicComliA
strokts.
k-

jJoAAjCvms

5U^j ^cnrnw?^a^cpra^-CtM^
rvppimcj paJxcA^n.
. \AK)p(iwruirna/rS[t cpravrvpaitcrn^

' ftcLthtr bcurb^

* vtmucC cfrcusst^
 (Mamu/mtjd(hur
Lanon

n^fiio 1/toCeb Utimrmrm. ~B(M£y

The color chart above shows a simple palette of six basic The triangular-shaped hues represent a few of my favor-
colors, consisting of a warm and cool red, yellow and blue. ite premixed tube colors. Having them on hand is conve-
These intense mixing colors will produce vibrant, accurate nient, but optional.

secondary colors (oranges, greens and violets). Red, yellow

and blue can be obtained by combining the related warm 1. Gamboge
and cool base colors together. Shading colors, browns and 2. Thalo Yellow Green
neutrals can be mixed by combining complementary colors 3. Yellow Ochre
(colors opposite each other on the color wheel). 4. Sap Green
5. Thalo Green
6. Burnt Sienna
7. Sepia
8. Brown Madder
9. Burnt Umber
10. Payne's Gray
I
11. Thalo Red (hard to duplicate by mixing)
12

dfl
 Bf^sih Wklercolor TtcfmupAi,5

Xhrvj^usfimipj:

A/ pdmt-fi^led^Slotted

a ^1j SU^fflU
producma MstiuLb re^Ms m ^

crisps prect'scy
Imcs. fib tfii

forfmbMaXl/ t;riA,6k ^vi5

texture mur^s
apptwr:

itt^h tvLsfi/:

fmiOpamt, SrmfitpC /Is t/k ftid u/ii5fi

zvmti/ oi/c^d [^iA or

'bticjtitkj i;^mip Srvisfi' is dwpe^
piCternait'iAA vru
bviootk^ wniforyri 5i v&raC difftrc/nt
lA/Cl5hZ5. coior mixturc5.

m moist or
u/fwn brnsfwcCcn/c^
d cCa/mp swrfdct. Ik
-vjou lAjord^ strokzy
1/ivmorc or [Iss strokm] w
pCcpru/nt to mcYtasc ijitfu [^ vteam/
or likorenst tht vniul dwrn^ tnrash.
of t^U/OJSfl/ Ucm. ihi brmk
//ut/r\j i^TurtA strokjL.

l/RAii5 rmuf S^ yh/rit OfpCtlcC io

p(eipmtcCoy d e>hmuju/U ivot
coloY5 ofwimtc(/ rwrmJ) swrfvut/
5t^ ebrokl/momy wUt^ fCow fraJivj,
ijtisk aver t^/n- cravtma
otfuA: [deacfi sponicmtonSj
iAJOJbk(umpUeCiA, -fmtfu/ru
p^xj Sefort adcCvrm
^
tfuLmxt, 13
 Sptci(\(/ Effeci^s
/ /
3rm5tna:
Lii^mcCfriskit o/pjmdy
Ijmtl^j stroke p(y
sbjtiAS tfi/rou/jfi/
SmtiUtvyfiiCo
brmevm thi
piper si!i/r^iia.
tfmtop.

CRmovt 5ij dkSSim

ifui ^-iafup

5criwmtj:

buscrofmaiAy
S'ImithoC ;. ftiA/mouerc^
bfi/rouafi ^ mar- T:tt i'CrijsurfdoL
u(ru u/asfv^oro/
rpi'jjor SCaki spcfnta/nj^Mce
hfirowafi n^tjpmik 3pot;% fi c(mp
5urpici 5ofim.^

Lifimj:
Drops ofu/puter, ^
vdriSbUcO or fCio(m/ brush stxokcC
niJ:oi^ye;btAM6h/ ^^jcr0S5 Piy

ijvlC^ ort(;ute fCow movst^ u/cL5h

{^ks-Ccfri^^ a/njcC
a/ndCtftr

Vrtssmij Mi \jmilM prt55vna

ci(yrmipkpC
mdcrL[vC'
(pfwtr tou/tl) mto [^ motst
irdoi^moisb
PLwrmli^,
1/eirtou.'? Cicjfit iadMArnC cffeon
1/tiCutpfotterK'^.

14
 : : :

Tlobt: In nfmnuCpCyrmdo, -prt-d/ryf tkctal^k^alti^cinoi/enormcrowa/i/o.

dip zht roo^ 5cUt

nmovbt
iAyasfi. Do ^

notpmoutit

f\[cofiol 1t/doori/ncj ^fUcokoi 'Drcpe>

Vrvp crfCick/
cdcokoC Mb
nCconoly, blbob d cCa/mp
ujipfi a/ncC
CujfvtvciUiJL
c(ainp u/dsfi.^ rmjCjs o/ricC
spots vuiCO
puppea/f.

InvprtssecC Thiourea

Zru/m/p(ji pl^tib u/rof 'fkilmp/m/es

Q/ncCprcs^ itmto [i/
^^ '^
mto'piwet^
it u/rvtC[y dru. :
^ ujojbfiancC
) [tOAJtu/ntll/
J^'
adtktrmto ^
cCcurk^ c/rmkttpC/ pujmmi'uM
c(tsujrU
nruKjt/.

3porujmc^\
Vimiiitexifu/oikpo [^Myt ci do/rn/p
ikick/, mdist epcnae uuith^
codt ofu/ntor- pcujfita/noC
ooCor cmcC prtssoTitooy
prt55ittoci^
LsiAjvrojoCsponcjt
Sf4«:-
UoOui/rw CL pmit. prvnbsnwikt.
r. i9rt5se.d cCriicO SackcnowncC
cjoocC
Coavvd uhrk best-j foCicujU

IS
 1 use vwj
bowrwCskji^tcfi^Soo^ 1^51^1 ui^riisiio
jowrru^C^ rtconpCvruyj vwmortjis^ sleetcfimcj

TTiiM/ prcnjt useful ^£iti4^on/.

% (vilj) Tnummionj, 7 recorpC

size's (m,i;(otfwr^ rion-

iW'pi^^e/ni ciddik.

Ctafit ajdic/coCor cja6lui^

fowrnul/ papers.

Lemes v^vj
(drmm Ctfo size)
SrvttCey

pi^m upriMjvsfi/-
lAjfittb u/it/i/
^

brown ail^i^S

fUdjijr [taf3tvtdiA

Jjik^/hm5t-/978

IfljAsfiroome
no rmtterfiovu rotajfi tim (wt OMsterBaoj,
uIn. mo
ccutcfi tfvL esse/naJof th^ su^ec^^
to 5park. a. 9n£/?norij'
16
 iAJm/nipta^ Ccmada/ 'pikkisk [ayoaj
niilrcfi /W

Wa^e^ drop.

IDtCta 7u/nctiw,
fiCaskoy

17
 BENEATH THE TREES, S"X9Vi" (20.3cm X 24.1cm),
watercolor washes textured with salt and penwork

18
 CHAPTER TWO

THE FOREST FLOOR

Pause for a moment in the deep forest. (>oniter antl hariiwooil branches sway
overhead, easting dappled leaf patterns across the forest floor. Here, lush
mosses, ferns and vine-like ground cover spring from the rich humus or the

bark of fallen giants. Look carefully among the greenery and see the shy

woodland wildflowers. X'iolets, lilies and dwarf orchids peek out from their

hiding places in (|uiet splendor. Bold mushrooms pop up and stand guard
like toy soldiers in oversi/cd helmets.

On the forest floor, a cathedral quiet prevails, broken only by a chorus of

thicket birds, the preaching of a zealous squirrel and the amen echoes of the

tree frogs. It invites the wanderer to linger, and the artist to fill a sketchbook
with a variety of shapes, hues and textures laid out in earthly elegance. But

where to begin.-*

In this chapter I have "zeroed in" on a few of my favorite forest floor

subjects and suggested some easy ways to portray them. (Complicated flora

and fauna can be broken down into basic shapes, or in the case of some
plants, simply "printed" into place. Once they're sketched, just add color

and texture to bring them to life. I'll guide you in the mixture of some
lifelike earth hues and the creation of realistic texture, using a variety of fun

techniques.
When the individual forest characters have become familiar old friends,

I'll show you how to combine them into a composition. You are welcome to

duplicate my paintings or alter them to fit your own visions. Better yet, stroll

into the forest w here the sights, sounds and smells are vivid, and see where
the inspiration will lead your own creativity.

19
 ^kitkfb 3{rcCs

of.
I
. fk]Uitc/7£/nifUi 5parrouy. I
UkorKMriri- tofTjL camoufCuug^ mUks
m. zxctClx/rii/ ocfnira3V io tk^
Ortafit c^an forest

^ TtUjMS^lM
M\
"foU Spa/rrouJ
\
''^

3u/mhSwmii
®
y i^

V
3u^nt Swmzy;
"PrtCimmarij
dtoucfiof ,

3ii5tc(mip tfiLmikturcy

uppCtuC/ cucik/

sirokt
Srtiehy

Tfhrt ujoJxrcolhr Co/askis

Ccuje^ccConamC
6lmcij?j£cubihjL
zdcft5. VdaiCs

Ccust .

TUXZ
rou/noC
Srmh
fft^-'- '>-^ Crisscross pm stroh^
Chiok/in^pUjiy (.Z5) Brocon^
 7n055

Cock roots imcCvrujL sic/ms StCdim.

.

7?w5t mporta/rit^pzctior 60 the 3r(U5(icC

artist. ijoo({(jmri

(.18)
iMirfrom Trust SotttjL ^moja^C
onujetuja5h.

'
fw^kt
iYtm

'Bwrnt

ra/n

penuforky

Tiufntsljniu
 nrns '^oCCu 'fern/

nCCi^msfnm rookoj, pl^u

sCopt5 to ikt surfact
(f
stMu/cdcA^ponies. Ifet
7 &im/i,cffefn5^ I
iofim
fmcmtm^ ifmz liko spewrs
of lojot^ iMicciteUi &?ziL(jm£j;C
an ihi forestf/M:

^CA't port scme^

i£CfmiCliA£S 60

3a^
7i/nctC [frein

offbr^

"III "i^^ iAJitk colbred

pincuark
;

)^£^ TTwc^tUb rcrrv,

a.

^fusftrn.

iajcls craiia£
5ijnripressma
PifeA'n tip ^
vrUbPiye'-iy
syyrfojCjtujcishmpC
CemK/riati untiC c^ driefC,

H uoicCdBeoicfrea^t uM z^
half icAiwre a. SackcwamiC/

TneySu/orcfftm

no. i roa/nc^6ru57i
ciTrij^^f^^tecknia.

11
 .

Ijjowncj^ ti/nc{£yfeyrns c^a^

^ Uysei^for ^te/ii.oiUnc^

[stiff, ^onODU^Aioms ?mcC

3tena(ai' Opik i&rn/

SiippitcCpm uork

Vfiict fem io kii5ecC

(15 a 5te/ncil^ dc^iK^st tfii'
^ci/pe^. Usmg ci Soft sli^okjL-

ove/r tfijtfer?i. l£ciffe>65

RAod cioufu^ from^ t/it
cmior vems.

tsdru, tktjerm^a^ey
moof DC {vrUecCo/ncC

Srusfi or pen tiJ^^

Sto/yyipi/ncf

Uo(^i ifit storfcia. ofci

rofor (Aya-5/v. (Ifpamiuor^t

Vn5Ufi£.pamted^ferry ^^^^^ ^ \ l. !/
c<worwU/v
to thjipapcr^
two 5m££5'pfpapor tgwu 'Eujfit suit/
iM^cC rvo6 u/Lu/v tfotor fkae4^ ofprvntu/ns
to tromsfor thi Tnaist
paxJnbfrom th£.f&rn ^ ^nuslu
iA/itfi/
thz pape/r ^wy^fdc/^. Jjidvj y&rKVrvni: uork cmcC,
'Fcmovt fe^n cmcL Ui
pririb cCrvj. ('fern c:oCor TniTcturt - Sp^
Cjruri, T^ifUb fePlhu/ ^ci/tu
mdci fimt ofBurni Ufn^)
 Uisfl 0oCcrr5 of^ 77Z055 tika;C^ ofih, £mCa^
M055U sttrnfu/^tmasJotcC^

Ljra/rb Pi/nc{l3torni Ima^

tfyimo55^ fk/irn5 ^a/?zci^ 5ihCj

LC^kh ujoocCcoiors -
UCtmma/nm. Mot
piu^3wrnt
Urn6e/ri
--— ^---v.
Sitmuv UmSer' wash o/ndpressa^
Cfn6o tktpape^. '//k.
rtstcCtma mMt u/cis ikM

i/uith udXowcna^
^
ujork

\ x.^S

'for [lumfux:^ effex^

ifk ^owns ofin&
fox 5ptirm</co^ercy ,

pctkti^up acjcu/ro t/n^

tfk [^oCoTdiccri of

for 6Co6^mGf,

24
'BrmstcC uja.2/Tj Cpne^
Tflusfirooms ,i/«'*'^v<^
T/dmi ^ooiy
-"^"^^''f^s.

THu^rocyms^ witfi/itmr' ^
i/wljii: m{-d(jurt,
piwD 3urtit
iAJcynxdi/rfuyC ^vubiiot VmiStr
\
to oarrvpljim^ijirub
forest
{;fjuuiok/
3oe/nji.
shJ:ohymio
Uiy

or ^ IjdCoujOofwt
mixtdwitk/

cDroAAj/Lanthis
pacjt can St
jowrwCPp^ou)t/m
,
^^^ 'ijdCouj OcMro

ifwovujfiowt Smmiy
7?w5t ofTbrihy
firmricd/

(potsoruyvLs)

7^ djat ofiki5
Hktuii
imcCcic^umpljui^
,pCci5tbc ijriWAA)as
i/mpre65ejcC mw a^
iAjd^iJosh imcCltft
wniiC

indiamk/

Mii^firocm'^ /

iriorcCMc5firoam.5
SoiCd^fi/nuC
ifiise 577mJ^Csproruj
-pe/nwor^.
(.25; ficmMj-com6/bok that''^
fimTo5kitoh. Tmjo/t
QjitSk/ cwui cfwiay
 Bwrnb BwrriiSwrmi
Soil/ TtxMres withstraih'?
ULtrwma/fm^ ofBwrrii
ipCojce

numerotc5. 7 U5ua/l^vi
StampeoC
Beamy ujiyi/ty a ffnt o< iuitluiv
mo/nJ-
UJCLtvr

^ Vimit's
Ufrm

StipplzcC
ujitka

bru£>k
wrwC

stvppCma- 15)
. of7/a/ria^, pdork ujczehjes)

Dcmvp Top 5oi[y Qrass oMcO

were rrui5kmy

Impressed

ujitlvpCa^iio
yrmt \

sivppiiM/

word

^Humw3 IaJijIv Bojrk Cfups Qnri,t^fp^ 'fnre^'b Dwff

n
 Tortsb /jynpfiidia/ns Yfk Sprmj Thpe/r
d^ uf/ruCtlk [prdi/j Irej^frocj
(l^ft)

(btCmJ) m'e both/

Tnotsturo 3e£,kir5. ^et-
noctLorniiCtrezfrajs
fownipCm. edsteA^jv
cCmS
silokui toes to
miamst c^amp
ioCioMO, wMt^
mxAJus ojncC !Tv
wM.
1ndw
Su/nroiAj umii/' .
r.2.5) vnk/
fiiC(m lea/ucs 3roum
amCrotte/n ajooci.
Tkse ttrrteirtdO / /
iwbphi6tff/rb3 rdu/rn Vrewmmmu
to cuu'tcr to SreuC:

'Pnotfco rli^i ujdsfke

'Tretfropj /
(Uestccksi)

pe/n btipplxMa crmtes

texicorc,
ino5iire£.'
frocjs Go/ru -Lmun ydCow
oficmcjt oo[or ftou5 5ap Cjrmi

i^swrrui. th£y
fiAAts

ohose/n
of thju/r
fu^jSiiid.
V ~ Yfwiyto Ijrmi adc(s^C

- 3wrnb Swmcu pkus

3ijurntUm6e/r
^ 3wrnb tM5e/r
mdi/colj^

SpoiitcC MB) IrwCtcL

oj^ liet^ Oohre

\ imd^Caiie/rccCtjatrhy
9?zi7{ioore.s of

7%£ l^cu(jk-5^mm^)1uc/i
of thiwestc^ast; 15 a^ ,
TTiidccC6r(%ori c<otor 6i/cik/
d tfe/Zi:X(y-ora^e. 5tCiif.
 Oul&r'

/
"ffiz f
forest loan's CiltorecC S^ Ucwes
5mCto thjL ijrou/ncC5tj storms^ cCibtdSt
rnipC thi mrnuaC oAiiumnprooe^^.
/v
f
/
u)[orfadis to
A'? ihioj waitl<wr^
aa/rthbj 6roum5 - 5(hma^^ {/m6&r; /s /

CpivCTnouTn
1/jg,CCouj MtcCi

down 1) ivrst pkftm^tlw

fCnt. ' ujtrwra£ otote/r l^eo/f
s^io^c. Yfu/ridroMy
OUOUofviS. tfui fentpomt5 to
oorrtt>porwC to that
^hcupe^.

^ fiad?nore ootoYtcC
Scup Cjram ^
"Uja^his to i^foho i^/ftcC
/" VicCct
cicjt tPuL Udf. ftxtuyt
ijuitk/ spzlteyr^ ujilUa' spots^
tbo. f\t(k^ t^fitprcCmma^tj

fme, fm^ th£/n. t) 'fmisfvouUk/

u)Cor^p&n
iAxrrk.^ 3rmun4
T^;uf7iji'5^ Cjruoj .

5iippCvru^tuM
pucut P(/n

TnoCcCtrm/j
^^ Coole..
f\ldir Udf

becamma 5r,
Eve/ntvcaCCu t/uof Caniourpe^ sirokts
iAjiCC i^rumoLv c^m
VLdda smooth^ ^^^ff /
rttAjurn to tfit ounpej;ura/noL to curtccC,
wru CeoAJts.
w
u/HioPi/is tustf to ^^ancjiM^ onz a/^ea^

Se,amnmDj witH tfu SworoCforn [zcif

ml Sojokarou/rwCtuajbli

i^a3h£.s of Saf? lfr€£/n^ ofpCdcCy PL 5p(iU:£riJmof

toaster dropSfor
texUort.

mhomjuu^ a/ricC
taJbiAyrtd uiUh
VpiAjm.5 Cjrcuja/npC

Tretfroq 3roujnphny
ujork/!
ii/esUrn forest seme.
An Cfistcrn p\/rrypfii6i{Miy
co%CdC hoAjt Seji/n ustcO.

Cenf
LEAK l.ri TKR. S'x KT (20.3cm X 25.4cm). layered uatcrcolor
washes textured with spattering, stippling and pcnwnrk

31
l/u)(Lt5 ujfdx4iJ

fCougar b^amd
vtYOwma aJ:
tfut zMt 0)
tkafoTest:

co(m5 more mmi

to thLujoshTnuiU/c?
is/rmtlUdCouJ
-f(Mt toiiafv
work omcCi^iiiCwj^.

5dt tatu/rmj
Ho. Z
~RoumC A. vcnn^(ji.m0niayri

maifivrt

aCnzt ~ Lmun

'ukjbmlfb

to i^wn5pr

[JofimuA ymp-up5)

^kis Uejbt Const vtolzt

forme a. thicks (^ou/ncC
cove/r wkuofv sbujs cjran
32
 ^ ^Uc^U/ forest/

—
fCowtrsi
'z
pmibedon iJivs
u/e^c Tnadtto Cook
,

z frwjilj^5tj
umtnietikcj ilw,
ac^wun^t Um5e/r Srovun
6ac/karou/rwCe icxi^rcd/
toCth^pe/n cmpCtMJ^

mLf[o{je/r5 u/eA't miki£

tUtmrnci^i^^, 'Bint
u(/nj£
zarri5mt[£i^i/aA^

ly[^l4/p5o OrcfiwL/

imjbiA/ork/

3prma
 Mli(/ [je/rcM^u(/my
Jm^H-lrt-llnji- Talfii/

V•'.''J^'"•'i••'

wwmut
;0";.i'V;;.V-l.'^-.'''.vC-,-'
''•.•.•".';V.\v.v. ;.!,»..•, ••-''"•••^^•^ '"
'
II -I ni^i.J

34
 n/3 5e£/n m/ tfust c^ost-vop 5tucCi£5,
forest fCowers mafh^. excelZmt
Trwniaiwrt' arowpmas. Y/k bCpssams
tmjcC Cawts tAyertjxmiez^ usmcj

ttiimrecC Sackcjrotx/ncis are tnrtmC

iuc^-UrccCor uyci5fi£.5, (scfrm a/erc 5ciCied)
ouer Co. icC LJithj stifpCtcCpen (wrh^
vro droujn or lm(uu m^. (.zs^. 3s)

fLouL iftat tfk flpra/s art p(mouri Oy

fiUmoj tnivrfnims. ^fii5 ,

-^

crtaizs triitYes ttrwi rb^ai^e^

^pajccs iriy ifit 6ac'k(rnMnc^.

Ort^on IjYdpc

IrtCCticmy

1^5criT)tCpfi(/kM<A7i.

35
 '
jfw SnokarowncCofpk. VomCas
SoijMfWpcwQ^ d mx of
forest mM6vimi{;5 mst/Jmf ^-^ee^s
cwx^forci(jimj on iMfore5tifibberfor

ii/cst ooasf XiotccjCci5 '5(7uorrcfy-

9mc5/7/roopts.

'Pi^msCfmj
9kl: coCora;Cpeo^
U.S.)
coork.. (.z^)

^ f
fl(f{f3roujrb
vrt55 cross
pe/jz strops

Vrts5 cross pm
sbrokts. Vfujcfiy
Cmj Mrtcttaiy "di/riuppiktU
imcCComt'h/ lAJusfutsmd^
ScroitofTjiuCnv
ofsira SrownmH
-ujith^ PL razor
tuorJz.
BCduCu
-^
.^^1.;:,.
iP« A\

tuorH with/
f uji^sfWD of
woyie/r-
coCoy?

1/jeCCou OcMt
3wrn.tlM6&r
pkis 3mnt
Swmay piks Tfico l/coLtf

HepC Si;iiUrre'C

36
Dorci.AS SoriRRKI.. 8" X 0'( 20.3cm X 25.4cm).
1 colored pcnuork
tinted with watercolor washes and detailed with India ink

37
 LOW TIDE, 7"X9" (17.8cm X 22.9cm), watercolor washes textured with penwork

38
 CHAPTER THREE

TIDE POOLS AND

TROPICAL REEFS
It is possible to wear a full smile of delight inside a snorkeling mask. I know,
because that's just what happened the first time I donned one and floated

into the fantasy world of the tropical reef. I found the water too blue to be
believed. Near the surface it undulated in vivid shades of turquoise, changing
to cobalt, then deep ultramarine in the shadowy depths. Against this azure
backdrop swam wildly patterned fish whose colors were completely uninhib-
ited, as if they had been designed in a creative frenzy by a child with a new
box of crayons. In this anything-goes, watery realm, the imagination is set

free and artistic license takes on a new meaning. Obser\'ation and visual recall

are doubly important because on-location sketching is next to impossible.

Although my photographs never seem to capture the colors of the reef in

accurate splendor, they are valuable in recording shapes, textures and tricky

light patterns. Inexpensive, single-use underwater cameras can provide ex-

cellent resource material and are effective down to ten feet.

Perhaps you're a landlubber and don't like the idea of swimming with the
denizens of the deep, tropical or otherwise. There are alternatives. Most
marine aquariums have reef exhibits where the beauty of the undersea world
may be enjoyed and sketched in dry comfort. Or check out a pet store special-

izing in saltwater fish.

Along the rocky coasts, the cold water oceans form their own type of

undersea garden: the tide pool. Here, at low tide, the incjuisitive explorer

can find one visual treasure after another. Seaweeds, anemones, urchins,
mollusks and starfish cling to the craggy walls in bright profusion, while tiny

crabs scurry over a mosaic floor of broken shells and water-polished pebbles.

Tiny fish in sand-colored camouflage dart into the shadows to hide. Always,
there's the unexpected: Perhaps you'll spot a fragile jellyfish, trapped by the
receding tide. As you walk out among the tide pools, keep the following
suggestions in mind. Slip-resistant shoes are a must. Polarized sunglasses will
help you see into the pools more clearly. A campstool will add to your comfort
if you plan to sketch. Above all. watch the tide — the receding water will

return, often with surprising swiftness.

.^9
i^ sm: f\CcofioC

cinimiUs (poUjj^s) u//iif/i/svirrotmC

proviAjt/5 its''cx)l^adibyVofijrtm^

ThMwOreMob

to ifmJx:} Cirei/namCliUc^
pooustuy curap,
'yfformuconJ.
(Vrqiect SciC^cjrowwi
ijuitlru a.pajpe/r or ,

ifiLproucCure/ ^ ^ c(m£tuC vuiihy

Cwey^ Gofd^C fiJLou;C

"UJtt-GYl'UJtt UdrttpO
^-^. tunsPi of ZjtCCouJ Oolvrc,
^-x-:v ^
stvpplctjork
Us,50)

itximrt 01(16
i^j£o(tcC withy
'.. ^
Tirown a/ncC

work.
(.26,. 36)
3tsidji5nwn&rotcs coraS -tapes, tfiere cire o/n
ouer^nzlhnma vcvricti( ofsponats sea/mthjzrs
Vuddmavulfc
'Vnai

injL re.tf^ eacfi ciMimj ^ 6ii^ offrt^'M (jiivcmjji)

-foCCotumcj tccfmiaujt/ ( were dmfmtd

iuitk IruCicL

D 'Rtptdtm^ coCors ofihzftspL/

tfiz u/rdssc
"ffiis Coorcjt
mui stu iuaJc&r^ppuht dpatc^fi mrf^^ fvsfu myfidSits
cksvar]/ CRje/T 'tfij^retfcoreo/. tc/ar^
on di^u surficco R/npC Cct tke. rtefs fru/n ^orik
CoiroCnia/ to

/^yorkmcj m svuvCC
tfion.^ cCcurk u/ash..
(iJdY'itcO mixes
of 5im/mis^
mribtrs imd
Vmmh Qrcwj.)

Stforc
movmaon.

Textuufc

orustouCs

oMcCCaojmcj

t/uL moist
lA/asfi. ICsey
twtcze/r5.

crvj5toU5 m/
pCaoc untie c^tj,
tfu/n rc/rmi/e^. uark^
bojokcfrowncC' o/Ttcis if
mjuUi^mid/5tipp[c tkm. io rtpttse^t^
wi^hy 3tpicu err /Tzduiy ^hk/. smu.^ orm/yrc
Us,, -55) cCistunt retfcrcPLiLCftS.
'Rf.e.i' -^isfb 3ictcerfCiA

)\ l\i)?itCpkimnf
sketcJi^'

doA-k ta/rtku

ccmpCe/rm/n'tcirij
mzxtu/rts.
V
/
ITlostoftkst -ftsfh^art
^ Scales nort SloikcC
ilrowitlru(tpapjMr
Wi(i55 otfi£/ruJC5cno6e.cQ
VOUJtC.
Orruftc
3wHe/rfkj

1"

5"
3iittcrffuj fishy

{ScaJis cQ^iecC

cross Iv^ofumrj)

(^AiCcmtio-

Trioorisfi

42
 ^

Ooamth Seaficrst ¥

3roujnmk/

5vtootflfi£cu{ UncGorn/

Spdthtr

T^Mmd fkrrobftsfi/ //''

(5ou£furn 'fCor'ipOi/

StippUiiujitfi/
coi^ecC

^ st\jU(S

/ AJfalb-spottuC
/ Tiiffer 3"

^
V^'
kai ovit

A\
 lA/ert skdcfbtcCfrompnows

nth. Tfwuj cjTOw to ciSovct

CoCorsof
uCiitcmt
Ihck saCb ,

rttf tccfi/ntcimy
iMtthy

1rikuilM£ve/ri
iuark'dotfi

3iippCvm

TXstmt
rttf

Hoc^k 5ciCt reef

0[({ cardC
Und^ic/cL5h tJ(V5 £1 vciriioO
form^tumy^ tf^iu/reci
(to c^yrn^(MMi&ifeCl^>(AJ-
oromaeoffcsJ^l Oc/ttc,
Colors: Ocfirt Bwrni ^/za(o B[ui^ a/ru^ 5roum5.
UmSe/r i^/nfi touA^kiS of Ora/n^e^.

44
I'VRVMin Bl TTKRFI.Y r ISH. 8"x 10" (20..km X 25.4cm). watcr-
color with salt and alcohol techniques and pen and ink stippling

45
 rook hrevtc^e.'^^ 5ij misiiza izm{^oc^ma
tfvur 5pmuj aorsctCj^md. ^ fT^^^^
BiA/miV/mSe/r:

/llcofioC p(4vp5 m. ct
di^i/mfujcisk of 7)iaJh

ofBiorntUm^e^
iJti'On-u/eJ: ua5fi rowrwCSrusfi/
of tfeCi^ociJ Oclir^,^ 'Bwrnt

^f/iJurtcOtJith Sroujru
vnk,. (.Z5)
Hock 5a.C& iexiuTi/m {:ecfin/{^^^JL^
U5eiC6o 5i^^&5&r^ef:
IMdjirjoa^/n^okjj ts a. va/ne^C(/as/^
of T^lh TS/m^ MlJi^lrayn(;C ''cicHu ^
pizCMt SrouM-s!'

Vm. work ouerreefts JncCioy^^ 62^;

46
'%^-*;«;
TRIGGER FISH. S'x 10" (20.3cm X 25.4cm). water-
color with salt and alcohol techniques and penwork
 5

rookij shores, wbfi£y

iuvifi/5e^ wcuercmipCsm/
®Lpujp(owri,pi^va/rted/C(/ii5fi',
^??^ootli peSSUs fmciMs
of ^okm sfizCC.
PuM-pe/n stifptma

iTiuiedlwui^fnmdfity

forms brvjfit^i
cii(k:u(/y?l/3cci[e3 cfn
TTljiskciwb ny Cower
rocks,
lA/fuit&Mens, witerttdMC pooCs.

(Burnet UmS&r
U5t 57na£C5brokjb ^ush/

mdfirijSiA/rfiict.

AlcofioC
spayttor

^DiM-kn/n crtvvces wiih/'

^pe/ncmcCmk/

3roumy

®59ml£, withy p(jti^iC Srmfi/

48
 CCmjifU^ ie/rmoicvosfij ^o tum/e.-
SUJ^pt roofts (^t itcif 5alrnaj:^[ts,
cam/mcmy Sarnaoli.^ ancCMusseCs^
formvmtfuck^crustu col/mv^
^Un top oruouC tfit snaws a/ru€Cmpei^,
fmi4^^a on (zCaazy. Vjm. cfyrwC t/kk/
works^u^dCwc:(£ftcti^hjt5C HujUu

(jftAJditrcoCaruyiCCy &rm^tke/m.
toCifo^.

iiAjcst coast)

^flortfuYn CuCiformiy MocsstO

iwistoocist)
(rlGrtfitcist codei)

ibotfi codsbs)

ijoiomo Lwifd^ T)oaiAJwikit5

/ iSeCouj)

BmcmC
(custcoa^st)

^Ernaramatt^

3lkc£-

UJtsb
const (ftCqazorv
sfkC)
49
Om^s ymt Vorue.lMm/C^Pi6 (u/est ooasi)

n^fuL vrpiySstwmjfry tfut mterttiplM'C

xum. pirc s7?zciCC, u/itfi/ jmriJi tone. sfuCis
bnur' surrotmiimcjs.
tfii^t vifitcfv
5ponijma pro videos PiftM u/cuj wdiftb/t^
tlmrrodcjJi^ orU'SUj iexiurL

Musk/
jomts

fCd't u/dsk ofBurn^i^

5immi/?motcpC

^^J Musk owt tfit daokcfrou/ncC

seM. spancje.. pCvppej;C nv 6Jky

^•^) Ust S&ptoyp&n sttfpUm to c^fmo

pmcCfurilwr t&xturc tnt ora3^/klt^.

Vrttimnbcirij

^e/rmit Crfi5
^CrfiSskizdccf
!m.i£[&ftmpO
lAytt/v^ ^if drtishy
pe/nwori^ iV^tu.
[:{ot5 ti/e/^t puCcCei^
11^tlicii5t const Cjra/yiy uyitfu rpuor 6I^cide.
^
Orpvb. 378''
nioCiepCshCCs oj
Carae/r^ [ieu? c/cvter crft^s
urt ofbmfoumCpk tiiiey
50
pooCs.
 5ei^Sht^5 /lyicClirpfivrie>

Sotfifimma n spmoi sFiM fwx^ tmj tic5ey

fe^t. 77iju>r coCSr ro/ncje mcl^ocU.5 SroL 'e£/n.

pu/rpCt a/yu^rex^. 5m. stizr:^ M/n ci^ . _ _^^

'fmciC
3krttofy

prtfe/r 5a/npC
^
mt seCdomfoumC
P00C5.

a/ncC/mikc ifi^estma ci^'6kn^ Co

51
 Smfimmoms
Se4?i iMmnonjis [oak. [vkji^ sijTmmiroaU'
fC(yw&r5^ 5iyot piyre acitiaSM /^-l^w
cmhnoyfs. 7)i^c(Mco2^erlooaspecies,
TPimmafrom tidbpooCi^i^u^ers h
ire/m:fits. TM [/iimi ^
piae. oo^bniTifs tuthpooC5 frm

l}ih>toirit SCO. a/rU/Pt^p^!^^ c^a^ 6e

® OiiUmv^ ttvL tmi(w(ts

^
mcLsky mtiv rmski ''

fCnidy, Umii/m 6ol

@ 'Wni: ifui Sodi/pmcC

driA. (ft/ wash of TfmCo

\Armn, iTzpiCo ZjeJ^Cotu

OHjmncu, to mcodt goCor;

i/JdS USMOTL iM 6op(Aj.)

oobst sfijaj:iouj5 luitfu pl

uCa/rfwf lAJCbsk miAbioro.

lAjitfo maskmcj {:cwt

ci/rwC ttht thjL ^tmzacGie
tuviivi^ ly-oru pcUi. u/ask,

"tfuy Sa.5t i5 textureoC

^
with/ droujn mA. stvpplmci.

I'fubftsfUvsay

52
 Sen leCCies don't fn/e/
m/ bu^pooCs, 5wt mm
be, siAZ&pt M/i^lormc^/
kiafu tit(j^. Uepictnm
tfiivr diiCicoydi^, tnmd-

mfu/n ofwiCCe/nac

072 dbhyrstouu Slcjcm/

^itfb Si Carujt cCrop of
vduoohjoi, mopped^any
01 moijst 5U/rfcice. uash.
3riA^hjicCciCGohjoC
3irta/mejr5 ^efe ciMju£
ho tfTJLJcCCij on t/yi rajfit.

TkidilxJnn ucis cpt

ntooyi-feLfAAfisk/ combvrwtoarb ofmzpr TrioariJlCCufvefi/

(top vUcj) 6Qidt5craicfij2s^ cCuppe/n (bottom vikiu')
i^pplMyC(yfitt&(/rik^ a/nd
lAMtc cuo^ijCvo fiii/nt.
Tor inmspcircnt Coof^^

coCor 5fiotL/ 7Pit5 Mtco/bq ri^^CepLSeii flcttfj^

ihroiLafi wpi6 ppimtecCm/fi series ofpiUt,
dovCvj CmjerecCwasfiZ''^. Tfk rauushy'

pcimtepC Cust. THost

'

mporii^/nt' 5top6efore, it
cjds oi/eruo^e^m!

ttxturexC

'ioffr
 3[wkptrowncCi5 cue^ on wtt
tfwrt is^ nuccJi you c^ '^5a. tJkl
V5 dtUmj m i!:fzt 5piGli[frou/mC
sfiiipCouhl TJie iMi5ujeri'S Izfi!:
to tfh i^duyc/r3 wzaamU'tcoyi/ [men?or^e

("This i^eoi u/as [jCazecC

Acorn burn fic lis cwupC

l^fwtL Cmptt

H^ Triton shzCC / ^tp(£pooCfloor 15 Puidt

up offm^cfnii/^l,
itrocd^)
5QMc{o/Tid Broken
5f?lCCs.

yfii/h Ci^f
Limpe.t CorpiUpmy

I
3urf po[t5fi£i£
/
,
pt65[e.s

54
I IDK I'ooi. rKRRiroRY. 8" X 10" (20.3cm X 25.4cm). layered
watcrcolor washes textured with penwork and spatter

55
 jfi££)t fm'Pit [^Ccjfio pCci/nts [^e puSjmdcmJy 5qytay
m/ tfvi tipCciJ>cweAs wlwe. bfiuj oCma to

-^^^ '^"^ ^-^

UjftcUCiA^ dCCoww"^ ^

^
ipcrtraAA(^(/

smciCC cfii5eO u//wn

Vrvj Srvcstm^
iAivitvpi rw. /
rou/ncCBru5fi.

ImertcC
u/a3k of5pup

hfuit Cw&onikc upp&r

miirttddl/ zcmon Boi/u 3u{jpir l^/racH^
0011565, (60 ta coasts)
A fklpL/iili/
6Ccw(£5afu^
liooku/teids (botfly GOd^ts) - toZfei^tw

pCcmbefim/c
51AJ0CI£4V
5ti^ Soyoky {westu)iz5-t)
tips.
HoftouJ ifyh'UJa.l2k£pt<^£5
ftCljtcCnair 61^ ivp Co'oth^'ms, ^ ^

TTlau 6t tjelZouJ^CjC/ti toparpUs/i/

>p05l.lJU) (MptLorc.5

pmd. ^,^^,..... . ^soLrdyums

Um6er
ipfrpiujmcj, 6ou/mchypai^c^iiyr
\
Ocfi/rtcmpC
5pup[jrmn/

56
 IN(;()MIN(. I IDK. 7" X 9'/;" ( 1 7.8cm X :4.1cm).
Pen and ink drawing tinted with watercolor washes

57
 •l...(:'.vi'~§

MKADOWLARK, 8" X 10" (20.3cm X 25.4cm), masked

flowers, watercolor wash and Sepia ink detailing

58
 CHAPTER FOUR

FIELDS OF FLOWERS
Like a bright patchwork quilt cast across a bed, the spring wildflowers ripple

across the face of the prairie, dancing in the dappled light of the forest mead-
ows and meandering gaily through the open countryside to celebrate the

sun. Wherever there are open fields, there are wildflowers. Some blossoms
are bold with carnival-bright colors, while others are shy, hiding among the

grasses in subtle pastel dress. .Ml are beautiful. In nature's garden, there are

no weeds —each plant has a purpose. Hach bud, blossom, leaf and seed is a

potential subject for the sketchbook.

In the field, the flowers have a vitality that cannot be duplicated in the

studio with cut flowers. The still life is just that — — the
still life force begin-

ning to ebb from the blossoms.

Sit awhile among the flowers of the field and notice how the sun plays

across the petals, creating a translucent (juality not unlike stained glass. The
colors are brighter in the natural light, requiring purer color mixtures on your

palette. Linger long enough and you will see that the flowers are not the

only inhabitants of the fields. The hum of insects and the twitter of the

birdsong is all about. .A hummingbird may zoom by on an important nectar-

fmding mission, while butterflies flit among the flowers in a silent ritual.

Wearing the earthy colors of the soil, rabbits, prairie dogs and mice keep
watch among the grasses. Don't be afraid to add a creature or two to your
flower paintings. They can provide an additional splash of color (butterflies
and birds), create a point of interest (creeping insects) or provide earthy
contrast hues (small animals). But don't try to draw it all. A simple study,
devoid of background, is often more pleasing to the eye than an overwhelm-

ing tangle of foliage.

On the following pages the weather is clear, the flowers are in full bloom
and the animals arc cooperative, so don your sunglasses and join me in the

field of flowers.

59
 I)rmnm Tk^^Joujer ^fit omte^ t5 TnacH

owiCM'p ds dfrmrui -

vCossom. 3ujm/ Mifi/ {[/ymposvbc

^.ijpt SCossom
pCcujt tht 5fmpe^ of thjt>
fCower Ge/}i£erujLtl7my.

njcuru arejcitlAA nccorc

3) ii/nt5fv cCrnujm/^ 5ij

Ifii
uuMmcj pe/nciC o(ii(in^ m^
or UyStstcp iujo ojs a. ,

-prtCtmrncuru cCrcuuma /of

feJMlstfidvi^ijm/ .
/>- n cQjt(ii(ji(£ Ip&n amC^tJh^ ,

siudoj or iA/a^ic/rcoihr pidmrn.

i/nttrcst mpCrenCtSTTTJ ic
w skttcin/.

60
 ,

Vtt^C

SiijCe -VistiC
OVfiTPj

fiipi/rve/ryt. 5epiiu.

3Cui ^[ac\

A) Becji/n ujitk/

VmoiO surfucjL
Cmovut ix/asfiie of
coCor. Jjib

Vcm'i ove^ SImixC

\
J[£mt
om CoAJivr i/nib mpcwnte^C
UCtrayncunrnju

\
shadows a/npC
1/M
Ink/
ajddiiicriizl^ faofe^s
UJitJ^clfi^
ofpdunt Ld6ich qlmj^ l/totjutmiTi
rovmcC 6ru5h orpe/fv
cCnj Stfort aj[:(cCcm O/milwr' fmcC5ap Ijrcmy
Cdutr. fUprevzons tauejrs shou).
61
 '

tjimim Core/ypst^
expe/rmm^
SCossomp to
iAjv6li/
—
shape, (mpi5ii5t
iAJusfi tfiz rau
fieioiCe WLthy
(^prniSoaey.

(Vmnp 3wrfa€t -u/asfi.)

i\

'^flpUT^faol/Mk
Umn6oat amCu5t f^eA^c&nt&r
pure Mo woist^mmt mix io ,
sfwidt ouncC with/ /ndtco
ilk, ce/rdarcuim^ 'Broun u(jifokb rmjpeiaCs. iMAy 5crti66(iy

%[mC''onto tkLomt/T'
of droAsnWoMMr
/^ ii^e5 ofiM. rm pe^,
to p[iif(J7je^f^otuor
cem£eyr.

mth cCamp 3u/rli!ico

© ^lortkCcujevcs
UrimSojohir 'k'ed z Tfii'o
t/k c:Ocork qro/n mx
l^rvm6achjir 'Kjui£/
?nzxepl/ ^^^ OJoCcCecC.

PlP— ^^
'dlincC

llnjitc TJeUouJ
l^reui
VmoljtCCotJ

Caatris
ptmiTiofTJico
^fiiedcjtsof^
l^ti^yitfvii toacfi
Cduie/r were 5oftemp{ ofU(;urle cp^emfroin
aitpB aMuiy.
cCeim^dmnp^/7o. i romc{£ra5/7.

TambSrushy
 yi^a^ iechnmut'? -

fln PicticaCrose^iiiC,
p[K/nta;Cu/itfi^ TJmJ^ l^a^
ami5ta/rriptc{onio ihiL
papor t/n a ctA^ctdiz/r^

Pi ddiccott 'ProA/rLu
l^stprmt^.

Sup Ijrcm washis pmc( ytUouj/Ochre,j

[/ra/ri stvpp[tcCpm
Broujn-pe/rb

[/miM^offloweA^

[jra/n a/ru;C T^ui^ouy

Ocfirc, sprt/hjQlicC
< luCth td^Gi suCty

7^5 15 dpe^icmdBurnt

tuUhy5epck/ 7ni^/.

M
 Cfiicoruroots ciyncC
cprowrwC thjum for use
us a. c^offet

J fas u/fiwisicup

fCadt '6taa/n cuttlu ^

n Sup Crcm u/as/i,

V/
thi Sasi's
6tza/mJi
-fortktsit/jna/ncC
fCowtr ducfCs.

"ihi Vttpits ofhfk CfiUX>Y\ 5tr^

•to thL"tui!^"
tuicCb siro^Brusfi cmcC
d waicrcoicfr u/asfi
of 'TM) Vtbdt'

«•

-Demi/ Hkflixi/erwLtlv
d no. o ^ou/m pit-tcii(/ ,

(nrusfi a/ncCifuL vcoltt mx

or
Use [tftfwpcn a/nfCJ^HjL Vwltt 7n/i/. \
\
 iJnm fcwniurwj wkitV, Oicij J-iowers, tfii Sackarowrid

'pet^rCi/j Eiv&rCcistika

® App[u mcL^kmaflkicC to S[ock auot 6h£.

Sdckorou/ncC washis,
Sew Ijrem, UeUouj
ISu/rnt Swrnn/
SpO'ttf/r in^.

TUums [jTMA Quern/

to Ccuj vrv ihn ecurthu SackarotmcC

uashis (Wtt-on-Jetcrdda/mv

SojcmrouncC witky (^TnprtssecC

[koAJts saCt cmcC spoMex.

Q)U5e a. vtoftt u/ask to

SCossams.
^ficidjL thjL
Vrtj SrtLsh vri dztaiCs
i^mjcCpamt thifoCikcio

Cmji'^ to fLortnJur cdfi^

tkjiflbujer5. Kiubp tt Cicjfib,
Coo5t a/nd a/yu.
Insects
(Och/rca/rwCiyoyrujpO
^
Insects i^twou&tmdriuPiitl^^ browyiujajshiis, plHallkO
Mo tJkfl^(lCiaptsirvj of tJij^^
c!fr[i55Lpmi^5. llwefore if: 15
cii^iib^ rmtwmCio modc^ epiLWe^eoCon 5ffhrc pen

^e O/ft 5Cf?n£ o-f /mfiwiyrl66$.

tjra.'osfiopper

pm tjar^^ ton&cf

6roum

Indicb Inkpe/nuxirlQ,.)

® J3tGji/ro with

otct, showikcj
® J^MpaJjL tA/citercoCor

5ectloyi5,

fltCcui rutitorccC
SlincCurwi. Ctt ® ^uCvn dark

Ujtwnt 5uJ[i[CovuiiiiC 5ttppCtkcj sofims

'FkCeitt: [£/mon Ifedciu, cjt5 £^/ncCf?cCp5

OoPi/rt, !fru/m6cccyher 'ka£ 5'UMCfe3& thjL.

66
 ^ttti4/rec{tAJLth/
on tfiis vcdjt 'l5 thz

6t fowni^mJcjc^c^Cm'p

lAjarCcC-ujidiy.

mtxtoi/re of Mikimo of 3iMtrf[ijis

JfidCo KtcCo tvrdai^ (Jiih/

hi
 m
l^uMMmj^m'ds

Vastus
HtminmnS-mi/

f/azpCts (i(/rae.

Cook of u/et-
cfn-u/et o/ruCsuCt
tcoPmwu£3 dcCoCf
(R^feJiCmcj of cotton.

Timjfed: itCCouJ
Svrii^ to perc^, ^e^thirs u/erc te?(.turecC
^c^thy the Snct5i>r?a
SiyOt mt lAJltl^^.
tecfmicjiMjiy. /

'^cmaJjL

5tpicu /nA.
 5[ip [jTU/n/ThiCo

u/itliyci Ctafit ^p&ncc(/

I
slk£.tch cmUpi 6ci5t
cooUofpctmt^ appCudy
to ci da^mp 5Urj^a>cc,
Ce.t c^u.

5ofie/nfuin{edaes

_ JCmjeAT on
acCdt twruily wcishi^
to sfuu(e. iMocC /id^
contour^
vOifmjiy thji
of thbboc^.

1^st uympU/ne/ntdru
coCor5 to c^k(/rU

nnitturts.

2) lexbu/rt

thut pnAaMt<> ^tht LcustcA^n sfiort cri55-^

hciCfof thtU.S.on cross [mis m^
Brvum or 5cpaV
7n^. (./dor.zj)

69
 bfcoCSr
wimftstwi^lx

i^Cami) su/rfdct coasn of^

Uoytov5vs 5a/rl pCroMjrLfret

-

7^ Cowor a/rms ujuc

tty^iuA'tcC tuitlv 6roujn/

70
KI.()RA[, KKS TIN Al.. 8" X 10" (2n.3cm X 25.4cm). watcrcolor washes with colored inkwork

71
 S

[jrou/nd mvrreCs ^ Mihe^

wrt 5iMil^m [^fpejiTfi^ tPi£. Cutter

terwCma to 6t C(W[je/r. BotPii^c SwrrotoeA^.
^fm smzCCprm'ihc^hr mouse. t5 fit
fhomt im^ony[j tl^cpra^e3^m^floajer5. 165
flump ijTiMj 60M ujowl^provu^a. nuz^
"pomb of iMert^b' "to cifCoriiCstudlj.

fmzi(y
'BCRyck-t[ii[edy ^

CcujCA'tdC

Vrij' Sru5fi diCailmcj cR/er

ujiz5pi£5 of t^e/CCok/ Oohre.,

"^wr piwtcitcC cucCh 5&piw

mkj wi a ^6 pon (Criss-
. .

cro55 Ctm^s.)

apn^ipiy \prownuC ,

^mi^rtO[foumdm^
inji 'Dpucjtbrusia. cprc^s-
IviyrwC^ of??2onta/nci 60

EMyrihoj mutLortb of
ikCCoJOcfyr<., Bmrib
Swrmay tmpC 5^>'ioiy lrwCicom£pen

T^i smiCCT^otLSc is
founcC tfwouMjfiotot
tfuL MuCwest. M5
cocut vmCtsfrom cfrnoj
io real's /v-5roujyi
vlSovc cmcCoo/iit^t^ btCouJ.

72
 ,

/^ Casi&rn CoHaniniCis tki

common "UtiXt^ 6roum ra^Sit ' of
tfitpmirizyreaioTv! 7t/2^5t5U7/^
thickit5 rnipC 6ru5hpi/£<?^ f^oppmi
Old a/mc.j tfuifCouj&rs a/rwi ^

CoiiontciiC ci^ick^ s^eicfi

|) of Biornt
/? Ct'cjfiitAjcish
StMwwb/ 3wrkt I0r?76e/r
15 irrushidovora.
7)7015t: 5U/Kfa.u^
Cemjma
ufiiticireas
wnmrntecC.
Ltt
p(yu.

® fl 5u:oncCtAja5h oftkn
savmjL liMi is cCrvjoricslyd
ovtr thjiftrst UMish t/?v
thjishadouJ aA't[i5 U5t
VL 3rmCCf^at or 5tro/^
(wd 5>tpivu mlv io Brush a/rwCdoTi 't ovc/r
add crisb- cross fwivr Sti/rwCthnodhts. I'/kccjt
strohjL'?. Voi^ dttc/ntion Vb 6li/np(ju^[M(nj^ thji
to flair di/rlctborv ^tncC iCCwmmntiCfrb crt5cen£
Cmatk. [ost iAJh^tj^eIicj^s iAjUfvPt f^n/mp rou/nd^
ynouj 6e scrciicfmi 5a.cfL 6rvcsk.
vru withj a. •mT.orr
73
 'RnwUi flnc{ ^lornCluce. ~ Beslcpu LoajowL' VeoMUj EveA-Castma

Cexi,

'— fmprtssed^

Impressed
Cea.f

74
RAHHl I AM) I I.OH \l. LACK. « X lU ( Ju..km X 2.S.4cm >,

watcrcolor and Scpia/I'aync's (Jray ink wash

75
76
 —

CHAPTER FIVE

DESERT DRYLANDS
The word "tlcscrt" suggests a dry, harsh landscape of rocks, sand and thorn-
covered vegetation. Yet the desert can be a place of high contrast and beauty

for those who take the time to really look.

Rocks are polished to a sheen by desert sand and wind. The variety of
types and colors are great. To fully appreciate a smooth desert pebble, you
need to pick it up and feel the warmth of it in the palm of your hand. It may
be speckled with quartz, marbled with minerals or simply tinted a delicate,

pastel hue.

Raise your sights to the hori/on. Study the grand rock formations, carved
by the elements into statuesque shapes. The light plays over their surface,

emphasizing the contours. The colors are subtle and earthy, the same mix-
tures that linger in the corners of a well-used watercolor palette.

Stand very still and lower your gaze. Let your eyes explore the ground,
among the scattered stones and cast shadows, until you spot movement.
There, staring at you from the crest of a rock, is a basking lizard. Only the
rhythmic movement of its sides signals life — its camouflage is perfect! Catch
him with your pen, pencil or camera, but keep your distance or he'll

disappear.

The thorny bits of vegetation look shri\eled and dead, but there is life

within. Spring rains are all that are needed to awaken them to breathtaking
splendor. The desert in bloom presents a rich contrast of austerity and deli-

cate beauty, unsurpassed elsewhere. Orange, yellow and white poppies, blue

lupines and magenta sand verbenas carpet the desert floor with color, while

stark cacti put on crowns of vivid, translucent blossoms. If you can imagine
the earthy, prickly cactus pads portrayed in pen and ink, and the blossoms
coming to life in layered watercolor washes — the bold against the fragile

then you're ready to appreciate the artistic assets of the desert drylands.

SPRING DESKK T I.ANDSCAPK. 10" X 7'/i" (25.4cm X 19.1cm). watercolor washes and .Scpia mkwork
77
 Sim^sicm,
^fi£3t5n[iCC5tom3u/erepu;k^ /-—

5vorf{icz

5&rpe/ntmjiy

l/r^m^u/or^

Aaaiey

'

dCcofioC u/a6 SrtisfuicC

ifi/iataj/i to Cmfi6m^
?n

7nciiPUiMy
CofxTftcCvnJis
(yuvr Ua/nvp

Gtmrbi^
78
Once viow'ut musi&rtcC ifut vl£piobi/my
of tkse/rt roo^s^ uovtcari(iiioCui ^n^b
of ^ttrtst ujitnya- daskinpj Cizard/
^ThyOj pirt most Ci/zeyf(/ ^o ^SefamcC
Old iJro^ tfuL op€/n darma ifui woA^m
vKyrnma hours or l^iit PiftC/Y^-
nocn. ,
'
Pe/n imdmJ^ cross -

h^tcfurm u/orks u^eCC 60

5 iccjcjts t 'tFuu/r 5cciCe.s.
Lv7jwc(y
La/rat ^ipLtftcC sc(i[£5 — 7-IZ"

CoCCaredy £tzwrcC~
^7^ ««^^«£f^^^^

dwrk 5a/ncCs. (Tncdc)

crossfidtcfi/
Lid)

U/ork,, U/pLsfuixC Ciaftt^

^ HcnrneoC Ciza/r(£^
''Hornedtoad"
i^/Ltfi^ Ocfir^'i^ Su/Tbruis
Z'Cp

79
 U^,-^^)

color tAMskt^. 5pcvt!6er u/a^s i^e^^l^

80

I
/ARD ON ROCKV GROl ND II. <>' a .V ^ 1 5.J^iu a 20..km). 1mu>.. l^^ iji.iN>ini; (mlcil "Itn « .ItCft. ' ijnr \N.)sncs

81
 im^isurrpwncCi/zmz. pe/nu/or£^.
f)i^5 ofocmrc^ ,

^ec>b GP(/mjywfi^iMjt for 5n^d^ bkut /itki^

'Onwrb

Miilz fins p[mk-

arclk/m 5uff

i^oMj Im
m2^5

~~
Oontawrfm£5

''//u

Onsscro55
Cms

'-[ookmoj 'Hwms
5oiotfiwc5vern uC^5erte^
fCo(^kmcj 6ocj€iJwrm^ '
W'/'''4'h
^/'/f.i' ,/h'\ 'li
^
coveAyjs.

^Iwur ec^ih'iom 5o(^tC5

3u/rni UmS'&r

c^seA'iflouytrs, ^

82
 YnSlz sdCt
a/rwC6rti5/v
rou/rwC 5ri4^5pi/ are eastj uya(^s

Ocictios UJren

5pYmkCtcCm6o a.
'?noi5t Burnt UmSer
toush

3u/rrowma OujC

iAjUfiy5epuiy
Grv'55 cross
pen Cm^s.
(.ZS)

3wrrvt 'K/fnSeA^

l^oaciTU/Tzne^
yi(/ra.CCe.Ca/ncCoori6our-
[mts /^t(f> to 3fuxu thj^
Tnotumy cf tht Sac^
Cea.
'^gJrtii^'^Vi—

83
md^pjo to stcpConw ape/r 3U'ffic>i&rU:'
3[^e. iJdsfi of 5cif^ Cfrem
dCoom i'5 cirM'C stafU:, uyorthu of^

Cfrez/n /ora/n^^

OpiCvforntPi/ /
Voppu
4 CfTM

fCcii uasfi of Ciicmlu/rn

wct'fb a, u/a^h of

3wmt 5wrw.ci/

fUCcCCjrimSdolw
'Ka^C to ci5aiye.
mtxtbore fmci
[^Ufmpe.ti[
'

cotor
nnw cmhr.

aCuxes of
tfiz orimat
-mtAturt "Twzr
tki Suae of eojck pe6a.C
VriokCi/j
UJcCC izd(£c:oCor t^ncu
foppvj
T%ji ce/nttrcs c(zfmecC
ijjUfv Vu/rntStmnay
"Jt'AtiorccCtjtifiy
or3rouMthik.(A/or/ey,

84
Thdo 'RdC/ Thio
l/tottt mixturt^
toucfuwCto wet^ jfotutr PiM^ 3roujnvnk.
5iA/rf(ZO^ tAjith^
tfui tip of a. (.Z6)
t?o. y rou/n[£ ijork.
brt/isfi/

Smu{Vtr5e/)v^ (Above)
pCrmn/m 6tam.

pe/nciO skttC'fb. [oi/t^ 5cmM 50i(y. }65

briafit mciae/n6a.
cffuj[itcru)[br
iiAmcdrfocC adc{iicm'^
to pt^trt Oz/mthcape^
rou/ncC diicuC

texture u/crc

Lwpvruu

cmvC biui cirwC

pCa/rvi3 i^c ibu/rwCm/
nnimu te/rrcvOrz'^ cmcC

tfiur ptorpl£.- h[ajL

6Co55ams proiHxO^ n.
ptrftct oontrasi io
tfuL cfm/ncjc popptis tfwu

85
Hncki^^owncC-

Um6e/r^ Burnt StrnnMy^^m^Pi^ toucJi

of 5{ip (jrem,)

MaskotU
Ua/i/es Pi/ncC
3 flppkjpi ifwn cjfuze ofow/mjt.
biidsu/fiili

(
UriM
f^)putci/

86

ol
QUAIL AND POPPIES. 8"X 10" (20.3cm X 25.4cm). mixed media com-
bining India ink. layered waterculor washes and brown ink stippling

87
 3e^i/n tkt cuoius -ffowcr

of [^iid7?uc(J^Uea^ /£m(^ 7^ f^rsi/ im^Hrw{^ cornSinlfia

ifuL -zexbiA/i^ts cfpe/Ti om^cmpC^ ^
waJ;&rcoCpr wiis c^im
tfk
skttcfivncj cfa. ci^tus m/Siam/

iMt(;aAy u/cdcr--
tfiorn'? pu^izmsi?
coCor 6Cos50m'?tA/as5o "^^tur^C"
mpit it re7mm5 ont ofm^

Sktbckyhnfimb: TItl tfi^ym^on

\. 7?705t cJvcti i^c O/rramtt^my

to ieTiu/Tc tk^

[Contou/r fimpC
Crosshputchy

PidcCpiiowcfi
oforcmqt^ ((/nd
'Ifwdo X/iolittd Vwrpfc

Odctuuk
KcM) S[o55cnn Uafit {frtiit is pwrp[t''j
mitC6ra/n5tiioeAt!

Pi/rt tmtecC wcchy

iJiaib Ifreen, T/inlh
VooiJit md [{yrtij
paXe^tix. onmmrcs
88
 1^^^
OdctiA/p Sodif o/tipC thorns rem^td'

Cantowr dm'? /% 3iornd5(irmvJnJi

3aG^[jrownc{tAy[i5 teAiurepC
ii* ijjitiv ai6Ct sa^t cmcC rocky
5ciCt z^ sua ifest c{tata^6
'/

:^ XT' \
/

\ ^ \
*^

ji\i\
V /^/ 'V

va/Tufrmi dhp
VMiuyto /
'rtdcCtih/ m/i^.

^jkf>coCpr
camSvnayduyn/'
,

re
V
io vidnU^uA^h/' >.
i/riimsiuf. /^
 /?) Ou^ifm^ t/k tfiorns

IC \ \ ^\ ^f^=^^ Cocdiums
uiitfb 18 or Z5 pe/n.
PL . .

i\ ^ \ \\ w pe/ncily.

'fuYiaC vn tfm sfuwt of

avvrCcippvna SCosscnvs
to prtstrut'' thiL
spojot. ^CouJtr
oiubCwiib vs not

\ I

YfmCo ^

® 1h>t con6oijiror crossfwutcfi

^/
Cmis to 5/iade th£ 5odiyf of
thz coyctcis. 7^ th/yrns / ^ /

p(At shcu;(ju£ ojc^ con {;our

w Vpu/nt tfit SCosscrm tcsma l^ercc€

lA/ashes, a/ni^Ctmt^ tfv^ cdctus
6o(yCoj wii^ fta'/ii ii/as/t£S of ffui SbrpuA/SeA'nj HtplMfiooj

i^Mp/unt€^ ^WiU ctfCc^ic ccictus 15 5oyum?azfor^

tts rec€'^ strciu/Sem/
ihz 6oC{^^ ihorm^ ofp^^ir^^^/^u^
fliiyorej;Cfrvtit^ ^

90
91
 '

5aqMi^o
7ht 5^ iAJdspa&netcCujtek a,

SCottedtuit/va.

iAJitfvi^ wasft w/'xkuA't

of UCirniniiriMjt'B^
mjcC "TlfiaCo UtoCtt.

wncC thorm cure uasha^

-ujithj l/jtCCow Ocfvrc

'Bwrnt U/m6t¥:

Vcicius So^

77?aCo yeCiku/
Cjramj

CjroAj.

Septpu mk. u/ork

92
SAGTARO. 8"X 10" (20.3cm X 25.4cm). layered
watcrcolor washes, textured with .Sepia ink

93
 ^.^

^wliK HIJI 1 ^^^^^^H ' :

V^l
l'

^^jHsy
uhIII m\
m
^Ht mJm
H^Hlllfl I^M
^'J,
1

mmkI1f^Hlffl 1 -'F-

CYPRESS WETLAND. 8"X 10" (20.3cm X 25.4cm),

watercolor detailed with Payne's Gray penwork

94
 CHAPTER SIX

PONDS, SWAMPS
AND MARSHES
Welcome to the wetlands. Here water is the main feature. If the wetland

looks like a prairie with varied grasses, sedges, rushes and cattails merged
with pools of water, it's considered a marsh. When bodies of still or slowly

moving water intermix with forest lands, it's a swamp. In order to support

themselves in the soft mud, swamp trees like the Bald Cypress and the
Tupelo have buttressed trunks and vast root systems. Springing from the
roots are gnarled knees that rise above the water like wooden stalagmites.

As seen in the painting on the opposite page, swamplands and marshes

can be mingled. Towering Bald Cypresses yield to dense mats of rushes,
which in turn give way to the deeper waters of a pond and floating rafts of

lily pads.

As an artist and amateur naturalist, I am fascinated by all types of wetlands

with their vast array of unique plants and animals. In the brightly lit marshes,

the earthy greens and browns of the graceful rushes set off the splendor of

the waterfowls to perfection. Water reflections are vivid and as varied as a

kaleidoscope.

The filtered light of the swamp adds the drama of extreme highlight and

shadow to a habitat already rich in intrigue. Here is a treasure chest of value

contrasts, unusual shapes and diverse textures. In your mind's eye, consider
sediment-stained waters lapping lazily against a rough and twisted cypress
knee. Present are the rich greens of water plants, mingled with dollops of
sunlight.

A dragonfly hovers above the scene, adding a dash of iridescent color. .\nd

there at the base of the cypress knee, a turtle hides in subtle camouflage. If

this vision excites your artist's imagination, then it's time to put on your
boots and venture into the wetlands. In this chapter, I'll introduce you to

some of my favorite swampy flora and fauna and the techniques that will

make sketching them easier.

.\ word of caution, from personal experience — the southern swamplands

are not a good place for the novice to explore alone. One never knows what
might swim, crawl or slither out of those deep and mysterious shadows!

95
MC^d/? 5e£/m io sftourc icjo 6a5to sPuxpes -

snupeU^

po^ntma iou/cora!
tfit t(jij

A/aiiioli^ujii^ier'
coior sfkjticin/
cfa tfou/TWi

EmoumLarcb (.le)

piviiiCdSlk on ,^

"Muir^h^imcC h/d&rfowC
i/jaJjorcoCorpiite^^c
^fuLZi^izsiiAjit^Ctfc ^ pure araUicr ifiZ5
hjplc/sliitciv.

cmd
fooi:tcC sni/um/me4<B
stiCb ' CemtcC5t{iCkej^3
\/Uprt55
5tC(pfwzpose for lom.

rtcor(£tfmyi formic
paJMik^s.

%
 7ju Stt^5 of i;{ooak5 o/ncCaeest
uCi'fferiMy 3fiac>c. The adosei&nds

pU: tht iop cf ^/lu/r 6^^/^5.

rwri/

>
Cadmium
^rfui[o
I/] I uu

of Bwy-rvtUrriSe^
Ibu/rnt Sii/rmji/

J 6lmc(edu/ctky

MCt

crv55croa3 mJ^

fwre o/rifC ihiJ^c 60

^vujatst fe^cthir 6e?(£u/res kitatl/mcj

(ASm/t)- mz/tMil^an^Ouok.
97
 tmtccC

of-iextu/rc 6ecomes

e>ofi^ /Itcffif

UJl

/mjeyrej^Couaahzs

98
SMfroa
A/ cfiarics of croctli^ pon/^pi^
T) PreCwima/Tij pe/nciO skticfiy suddon. 5puz5fv an/notmces
tkt ^656^266 offrogs oky <^/^

Tlortfm'n LexypcurcC /raj5 c^w. 5&

colled e,itlt£r' ijrejm. or 6roum. T/its
onjL tuas cuaslvwCcud/i^ fa^tr^ of
wcbtarco^Cor^ tkjm [:(iLta,i&cC' cutchj
6roiAjnmk^

\ marks (.z^?)

J^ ^^.f^W

Ocicimimy . ljtC[ouj Burnt

ofljdhjOohrc Urr^eY'
ove/rpiCC witk a, wabficff

Cjrem.

is (urc
_ niSwrmi frcfni T/tiuy,
Swrurwu^ [irwCiHkys
99
 ® 3mi/iv tuUfiy [tpmctl/skitcfi
"Tnsi 5pa:tcoCtzed/ lecwts are.

ouit/i^ /Mera^CcufOy&riz)/^

.25' .55 ni5.

UcdmuM iJeJ^lM,
- ••'..• .- ..."•".'•"^*C>''<"' '«•
.'

-r^^-y^jjl/v

^^^^SM^^'^W^M^^^>

"'!.';:•/

6 'nL3

\ \

^3urn£5imna^&
3a/p l/rc&n,

towofiof 3pip

100
(5) A^ciac(j[{iluma,(/ Ccuije/r3 ofoJcUercoCoy
to 5fijoucOL i/w pcuhl^chg.
curwC c(£.ft^n£^ ^

HeMejOLk thohyMje/ri^tj Sefort adctmcj

wrwtfwK

T5(Mu£ci/rwC5of6e/ri e,dije3 oui^ifva. o/^cm^ c^(k/mp stroke or rou/rifC^Hs/i.

5ajp

iuiifo armature, '3wrnty

of T^m>5 Cjrm €> 3m/m
3u/rntlM6eK

UstOLpiisieC , ,
3brokz ^usfu
v&r50(yrv of i/215 vifA
60 oi/erCmj ikeflowi
pttuCs. '

lUI
 Ik th, Jj^ PmcC

iJnk/ u/drH u/a^6

^<9«e
'ompji^e6cc{fprs^,
tfum oyerl^ciicC

itxtwrdC
'for ~—
CGntni5t tf^ florae

complMninis //^

tfk 5t^CCfroa.
.X
VmciC
u/ork.

102

^
1 II.V POM). 8"x 10" (20. km >. J.S.-km). India ink > ,

pled drawing, overlaid with layered watercolor washes

103
 yhise pufuizico mstcts o/rc ci common.

ci Ctafit
ujctfiAd no. V feMuC
rovmcC

.1^
iAjitfi pm Use [takiu/ask^
imcC /ncdcu of SnollpproiMcC
coCor to tmtr

VmnetCf/izs foCc{

6cickoJa/r[C

rest.

TJiio
iJloltt & it/mcj T/ems
ifye/iri 5rui5ti;C
UttroMO/rmo
mto i/itc(ci/9np
3(ml
iAjitfO Pi
sUjlics.

'ptdadnfCij
X>r^onf/us
sprtoioCih^^
iAJtkas tAj/iiUyput rest.
%rbl/et
Ofhe/rifouncC Siiskma Uxi m/ or

ma^ dMcCCmh 3toSfeci5

to 5ketcfit^thz 0[d 5li£[[u{l5 faJjiii
tutZcC. pmcCweatlwrai^^o ^

iL/e/rccisa^.

C6o:

peaked/ uic^ Iciwred

ijcUe/rcoCor uashLs.

to fMJo i/- lP2ovecCcCo5eA^

Urbdbr3tc(vof
:3o7i Tu/riCt'^

3pip [jrezn 6
^ ?7£,5 [}rciij

TtmitcC VancC ,

zantowr Ct/riop^^/n tjork.

imttoCtAJcth. tAjcUercolbrr
r.25) tos
 Dilir£ Si^a/mp^ac^cfrou^^^

fora^owmmiiJjes
2A. BrUySficyyipiseconcC

tsftntsfud/

[frm. ^

uMj douyni^ -m/rwOu/nsfi/

ofSup [frm^ anpCBwK'i

pCastCo torup

imcC5tac/rt.

crc&p p{.Cona p[u5tu>

3A. 'furifu^A' i:iwrh/yi/

3B. Use. ^
moist '/y ''
stro^ arwsf}/
io rtyoB re^d^sHapps iexitorc wncC
w£o t^ CcujtrccC
b(^ukcjrovunc(/> 15ioV

pe/yustrok&5. ^
(indiM/lkli^)

'T^e/)ncn/e Ct^mcCiTi^5ku> tf/Ufiy

106 forcarownpitin£ia&5'
 Itm/ts wrt tkiok/
pCa/nt arouJ5 ck^ skaXCow
ujfiter, cU th£ Jid^es of
Enst Const ponds a/rtas 5U^^Siy
WfliL sCouJ ^trecwzs.
5fiM/yi/.

(DWafit wpbtercobr ShicfiuC

brvish/^ to ci dmip

Pi/rt diwmuC^
lAjitk/ [Idcdii/jruiC
pamt fillers.

® DddO
pprtdfCower

1ru£vutcCvut(y
CvafitUi
idth/'

\kmvriJd
CooH PuCvkjb/ ' ^luorld

^kio ,

Vcuimu/rri/
lidlcuJtmd. ptus UCtrpi'

3n/p\j Ywn
5\w lAYO/fVpiuS Siip tjrtt/ri
^

p^5 Vmnts ^(MA

107
 Jlite Is ifiji. disuinyl^a
ifit ''Vtckere.pLezd' ^ .

sudrnp l^omns u/i^ifhy

Tmsforu^ stwna

108

Hk
PK;kkrklnvkkI). 8" x 10" (20.3cm x 25.4cm). layered watcrcolor
washes textured with impressed plastic wrap, blotting and penwork

109
lAJDubcA^ retcCs arow^ tfvrotAj^ifi
ovct Thrtk miwtcci/ T/w
stcurofiAA roots pmc£vipu/yi^

pmd plkCtcwtof. Crcuftsmmy

rtosfi stccts a/yicCizrh5fr5

brownmJ^or
ohfm-plarl^p^
fmcL 6hjt sauscu^Cikty
i)n ci(.ZS nib)
/mtcCSj cot{;cm/ 5e£j;C

frayicCs vrre^tsitS/h

'Vcmyb c^itcciO Cawes

uvdhj vOyfucO Mixts
of 5af ^rem^'TJ^alh

TreCwv/nouriJi
penciO skjdcn

1hnuC
skbtck of
a. cottaruj

fwcuC.

\ ..^

3roum
110
wMuiwithpm.
I
 CATTAIL H.ACis. 8'x 10" (20.3cm X 25.4cm). watcrcolor washes
textured with blotting and alcohol spatter, enhanced with brown stippled pcnwnrk

111
MP, HOOD IN SlJMMKR, 8" X 10" (2().3cm X 25.4cm), watercolor washes textured with sepia and India ink penwork
 CHAPTER SEVEN

MOUNTAINS, CRAGS
AND CREVICES
High and rocky arc the two words that best describe the terrain featured in

this chapter. Rocks are the nature of the mountains. The higher you go, the

more apparent they become. Near the top, stony cliff faces peer out from
winter cloaks of snowy white. Like ancient patriarchs, the faces are seamed
and weathered with age. Their children are the rock boulders that break away
and romp rebelliously down the slopes, coming to rest in great congregations.

Above the rocks, eagles soar. Beneath the rocks, the creatures build their

dens. Upon the rocks, alpine flora clings to life. In the mountain highlands,
life is spartan and fast-paced. Plants don't waste time growing tall. Large,

bright blossoms are their glory and reproduction their mission, all the while

racing the time clock in a precarious climate. One can only stand in awe at

the tenacity of life that flourishes amid such hardship.

As the seasons cycle, melting snow sends cascades of water dancing over
the rocks in a rhythm as old as the mountains themselves. Light plays across
the falling water and sparkles like the crystals of a chandelier. Is it the sound

or sight of the tumbling water that catches the stride of the passerby and

causes him to pause and appreciate.'' Be you naturalist, poet or painter, the
mountains are a compellng inspiration. Linger awhile, and in the following

pages we'll explore a few of the mountains, crags and crevices. Then perhaps
you'll plan a trip of your own to pen and paint the delights of the alpine
scene.

113
sternerov (Sei^oim'^mtil^) IjirniSom

from crtvtbt'b m/c^Cif/s, ^f^^

sCopts^ i^/m€ro[;leiA ou/t crops _

formmcj bfiort^^ Mnst moySs

of SlM^'Orejm.' ro5tiie.5.
coCor u/ashzs.

ScopCjranj TTiPiCo - iULifi^ aro/rv

ufto%t
^dCow Ocfyrt
aJ-eas ^frcf?7b
uCmw oudsfi ijjctlv

Sojckarownd to
amtidst pusttC
fCowus. %
InduhMk
con-^rasmtcj
5tom.crop un'CO
piCCow tfit ScuykarowocC
{tKtu/ro h
ihjKmu^rock.
to St (WpCmCftrstr
Scu:/Q6jroo(/nd/
7^ choul^ts up 60 tkt
wfmvofi'ht Oyrtt/st".

114
l^aks Vook /kwOLiclm/

Tii((i':> rook5 (^t tfuL oCcC swrfkcL cucush of fiufm.5 {^ra^,

friicjTrmiitcC st^in^js tkcbt 'Bwrnt UmSc/r a/r2£C z/coQx^.
6rtcik off md
tu/r?26[jt, /UCcCuftou "cdricjpiiCcUc^'
Pjrpuj^ a/npC6roujr?5 Jbr
form cfrtdt sCopvmpids.
7lk5t rocks SexuymjL

va/ruMj of [tcfim/

fl UMsh ofSfjui'Chrwn
is [xddju;C/uA. cis cl
rtfCectcan of IhcaC
^c;^"- ""
(X)Cor.
® Wfiiljb thji ujcish. L5
'>tiCC^mp, ixsti^yicoffoC
to sirohjL on scptw
Cicjfit tm£oC Cu:fi£/n/
5pot5.
^lurthw toduurt thjL
rocks (jjCth^ cd^k broum-
[jrnoje mjimrtyiuj .

rwns [ipp[w:£ vudh, McoffOL, spaU&K'

spomi/n^ cMcC
5pcitU/mcj! coCorehCoriliypm.
iAJork tAj(^tiL5eJi to
tjfl y:,rv6SlMriaof ftwms tcxtwrc tht CccMro,
pm
Qrwujpmuor^
Cjrmj
"'"^ ^'"
cjom. awts th£^
Ctcm/n
Ctcm/ri adcCidoriiiC
pidcCu
i^fmiiioru!
Xt^cv ipifesirtj ofa^j^inu^
pltbicpT/, Ctcfu^i oCvm to
^
rooks tAjfmrt nothmcj
tCst wlCC i^frotJ.

rt^^
<
Ora/mt Star hofwn
fl crdstost
icrust'iikc)
Ctcfitru

%ft05O or [aiffikfb ^
Cicfwru iuUhJfruitm
Oi^ps. ^
i

**>i£
 ,

twt5 w tfii
florthu/est u/Zkrc
mownhm^of tht^
swtlirte^
I'i
CoMJts amC
misses, amC
storey
ifimi v^vrock crevice'^. Oni 15
Mort Ci^Q to /kar tkt
ujciJrrmcj 'tuHisiljiyof^^

5^ ant.

(z) ^(ice mcCfeiiiures arc c£icizlkC

fiiur IS /^t m^edy except m^

®5fi(iuCouj mj£
dijufk fiajl/r i^tix5
Mt tvntesC hJctlv
n Piufms Cjmoj
Uiivte/r coCar ,

LUCLsk uupjoCucC
to OL 3U(jflt[ij
uCojmpsu/rfpfhL.

-Q) i4j(i5fiJi5 ofBiorni U?7i6e4^are.

mitwraC 5roum - cjnw m(:^i^l£^

to tjhjt colhrof ^hc motmTiizmJ

roclQ.s.

116
Cfiipmtm^s A/n[{ lATowndScj^gprr&ls
Eastorn/
Clit/pmoorfk

{note
a/rwC c^k st'ropi

strife^
l/rou/ncC SatcvrrtC il^tt^sirciiecC 6eL

® VrtCvrrii/na^ij

CfTowrwC SchM/rrtCs
Coai v?^ c(i!furuj£
luipCrichji/njtcC
Wbdh^ Cautr(/ha
ttchniafjp-'=> J

t areas

1n^

'Burnt U^SeA^

7ndtcL?nA

117
 story?, col^i'^ d
pCcrtij pizCctlJiJ mix
of'Paif?7£5 /^moj,
Vestcfny
Burnt U^6or

Bl^'Orwri

PLsan
accmt.

~Dtriu
faXtmy"
arwns cmpC

miktwrts. V/vusc of Scip [jTO/n,

sami coCors uy&rcy
1^5tc^io ti/rit thz 9Vo55.

118
 TALI s ROCK AND PIKA. 8"x 10" (20.3cm X 25.4cm), watcrcolor
washes textured with spatter, alcohol streaks and India ink pcnwork

119
S(w[jrejm
-i) T^mjy Ctcj^uii£'fns^tcdLi/i/ ay
Ctitlz wa^teA^^o Ctfloujs ^xisi/^
umcCSCock (Mtwa^crf<M(^/iwh/-
CtcjfiJ^a/rtcu5. Qui m^n t/a/rch^
(Ajk6li oftcirt^'arcu^s^6roujr?5.

@ Crea£t Sfponta/ne/Ms rocky

sficwtf> 6tjpres5tMa turm^Udy
'pixisttjuujrcup (/ntoilit wd^

@ Usma tfuL roc^ efiiwts ci,s

a cmbOb, Sriish, m^ 5ntidoou5

wnd PU^u^iiumcil/a^itzes of'
coCor. ??1i^(})9ici(H cjOoc^mlM
contrasts m. t^ rocl^ujcU^.

120
 (D Use, a. 5r7?a/Cc^tciiC 5rccsh o/rTcCoy
storuL (AJcUZ^ usvna SCaok amx:C6roujr?
ik^s uncCcL 'Raputocfrcupfv pe/r? ('55)
.
5/70^ &^ edae^ ,
Ur)i6e/r u/ci5^ to
5cri()bUj contowr dm^ tAjork ouU6. of tht pciscaj^a ucUcK /Ic^!^ip5
 ,

Snouj

Unle55 ih is imUx^^u/itfi/u/arrn/ refCecitcC

COCoy; snoou is tA/^'t&- v/npamiepiypofc/r
- -

iu^Jit/.^ 5fzcic(/>ujs PjU/& snouySo/n/^ tJkvr"

i^fim^iibru, ^^t
cast sPiacCbuys are
cooC [^ii(A5a/ruC7nu.ieiC5Iut5, nmcjma
fromy violzt ^
a^uoy. 7/k snauu/asm^
usedth thi5e, eAOMflis art varacC

SncfwiCa^s co/n 6t ensu

suaaeste^C 6u sprmkCthc
taoLi saCt mio a
swrfojot uidsfi/.

1Mpi(mtcC orals

snouj storfkczs,

shcu^CoiAJ cvmc^
art drushuCi/Tb
^tt-ori'CJtt.

3nou/6an^ shadouj^
OLTt

brwsk bOrwCvkcj

of Burint Um6&r
zo thzi/jojb^ ^t
ikipresmjoz. of
5tw'yrwrcjej;Crocf95
mdadjuB a Sit of (Ajormih.
Ml
 ^ert IS n TTimudurcy 5cmz an w/ucfi/ to /iom tfytor^ snoiu

ic/e£-cfn-u/ti
u/aeh tuotfiy
tuSljLsaZt^

Urtsp, ufiitv I /

TntiektUyitJi/
Gndrwnch^,

wtt-on-iutt
U/DUSfl ix/itk/

-froxen stcctt. Ifurc arc

UCznirrdrmt^'Bli^
no rt0>(j^5.
3umtU^m6e4^
3af^a/ny

12.^
 ^fui5t pCcmis form ifiicky

cwxiroci

JjmQ/rtcCuiOyS
-._. ^ cjeA^t usezC

of ihjL pmstcmcfTL
-foCicujty,

ACpiM CoCComui/
to cQ.fonji, £Cassam. {norifiiuest moiMicuk5)

Y/uiCo'Rej£
-Uxiu/r^wathy ortmpbd
pCastcc ourap o/ncCBrotM
YkaCo CfYoh,
7ruj(Jju£ with.

CiUji^pn shcipCcujs, Brown

Tloht: ^lhvu&r5 u>erc

TTzas^juCotct UJhilk^
-
teafvj 6iicli
CCiff' Pe/nsttman/ 'cjrowni^is

7^^$ (itpmJi^pl^cmt,
pamiecC.
ijuitk/ ti^ spzctojculcur
fiot pmky fCower3,
cjroiJ5 on thji
hn:yu/rvtcu}n^ cCtffs
from Tlorth/rny
CGXifornicu to ,

OonornC UJashwcjcan.

Vwplt 5m.ifriiat^ ^

(Arclto rtcjton5 sotctk to

l/trmont^ uJzjammcj p(/ncC
tf/askmatan.) '

Htcuutswe/t ivdmrtcCcucih/ , ,

tudOi SdCt i^/rwC Broun 5criBS(jidy£^iJ^[t/nji.5.

124
 ,

3rown SocCiAftPitfwrt

of ijtCiowOcmc.
n1{'co lycbHit, Btornt
do(£t£5 of t(yci6or^ cu:ro55 f'lori/l
UmS&ra/icCd touLh
/huA^tbay. Vrtf-^redy msichcf 5tti^
a^t vn tkt 6op5 of iciCC6rce!s. ,
of fimiTyis (jmoj.
ii/Zmt trees oA'cfccircc, vzou/ntamy
6Cliffs o/ncfcCiffs swpport ih£
Carl^c stick, ri^sts.
J
AdcC^mrt 3wrnt
Um6e/ram^Piuines
ifrciuj io thjLprtVLbu.-^
IjtCCow Ocfvrt pdis ffito Ucolii: -mix iMu£(Ajxr^in.
thJlfecuthjirs^ [ka/uwia
iki Doitom ^dae. /
Ctaht- Bd/ndtAjith^a.

piks a/ndfhijMs Cjri^

1hi6or Bcorniihfa;

a/rwC fiwni5

\^

® Vrdvrrima/rVi ujcisfuL'=> .

fJie(we pCtrdij
iAj^tc porcas)
of tAm,paxm.a£
^^
ust/na cLTio. i rou/ndi^ii^ii66ru6k
mid! fcuje/rmcj tccfmtaujeys.
ujt ci/rt(i. tjcis fiorthi/f^ c^fmuV
7fiJi^
\^*v
cucdv Sapuupe/n uyor^. VI 125
 ,

7^ CCiff Pm.'oie/man arowk oru

Vocks wnvC oCista/rit

va/fmO
-peiLk^ ouft Sfei^ ts^ UCtrcuva/rmi
tuns fits cfBwrnb
iMideA^^ Pmnt's , ofT/uol/cdC&6
cupCcCwC. CCougCs ,

iMt c(isci(55ecC

126
 -<fj^

BALD EAGLE AND PENSTEMON. 8" X 10" (20.3cm X 25.4cm).

layered watcrcolor washes and ink stippling

127
 INDEX

Alcohol, 15, 44-46, 53-55, 78, Fish, 41-47, 53 Paint, 8 Talus rock, 112, 115, 118-119
110-111, 115, 119 Flowers, 17,60-61 Paper, 8 Tide pools, 39-58
Algae, 40, 48-49, 54, 56 alpine, 124, 126-127 Parallel lines, 10, 33, 83 Toad, 16
Armadillo, 17 aquatic, 54, 100-103 Pebbles, 48, 54, 78. 80-81 Tropical reef, 39-58
desert, 84-93 Pen, 8 Turtle, 105

Barnacle, 49, 54 field, 59-65, 74-75 Pika, 112, 116, 118-119

Birds mountain, 114, 118-119 Underpainting, 46

desert, 82-83, 86-87, 92 pond, 107-109 Underwash, 44

Rabbit, 73-75
eagle, 125-127 wildflowers, 70-71, 84-87 Unpainted area, 61,73, 117, 122,
Razor blade, 9, 36, 50, 53, 73, 78,
hummingbird, 68-71 woodland, 32-35 125
85, 101, 121
marshland waterfowl, 96-98 Frogs, 28, 30, 99
Rocks, 113-127
thicket, 20, 24-25 Fur, 11 Wash, 16
Blending, 20, 35, 66, 101, 122, blended, 51. See also Blending

125 Salt, 9, 15, 21, 32, 41, 44-46, 52, damp surface, 53, 61-63, 65,
Glazing, 13, 32, 68, 84, 120. See
Blotting, 9, 14, 24, 36, 42, 83, 63, 65, 68, 74, 83, 89, 97, 70, 86, 92, 100, 104, 107,
also Layering
101, 106, 109-111, 126 122-124 116-117, 122

Bruising, 9, 14, 21, 24, 43, 68, 70, Sand, 48 dark, 27,41, 52, 114

104 Hair, 11 Scraping, 14, 56 dirty palette, 36, 46, 80, 88,

Scratching, 36, 53, 73, 78, 85, 96, 115, 118

101 flat, 13, 28-29, 32, 42, 50-51,
Cactus, 88-93
Impressing, 15, 22-23, 26-27, 40, Scribble lines, 11,21,24,26,30, 56, 70,84-85, 114, 124
Cattail,. 110-111
44, 65, 74, 106, 109, 120, 44,56,62,65,67,73, 115- graded, 13, 40, 43, 56
Chipmunk, 117
124 116, 118, 121, 124 heavy, 23
Clouds, 126-127
Insects, 66-67, 104 Sea creatures, 49-55 layered, 30, 35-36, 44, 48, 53,
Color chart, 12
Shading, 32, 44, 48, 60, 62, 84, 55-56, 61-62, 65, 69, 72, 78,
Contour lines, 10, 56, 82-83, 88,
92,99 90, 92, 96-98, 100, 105, 107,
90, 105, 121 Layering, 10, 13, 20, 26, 32, 44,
Shadow, 10, 86, 107, 120, 122, 110, 114, 116, 118, 124,
Coral, 40, 44, 48 48, 53, 61-62, 72, 99-100,
124-125 126-127
Crab, 50, 54 103, 106, 117, \22. See also
Shells, 48-50, 54 light, 44, 49, 73, 79, 90. 104,
Criss cross lines, 11, 20- 21, 36, Glazing; Wash, layered
Sketching, 16-18, 22, 28, 68, 78, 107
69, 72-73, 82-83, 97-98, Leaves, 15-16, 29-31, 65, 74-75,
82-83, 104-105, 107, 110, pale, 52-53, 66, 121
116-117 124
116 varied, 13, 29, 46, 48, 65-66,
Crosshatching, 10, 33, 42, 79, 88, Lichen, 115, 118
Snow, 113, 120-122 106, 118, 124
90 Liquid frisket, 14, 106, 120, 123
Soil, 27 wet, 14, 21-22. See also Wet-
Lizard, 79-81
Spattering, 14, 27, 30-31, 40, on- wet
Desert drylands, 77-94
43-44, 48, 54-55, 64-66, 74, Water
Detailing, 46, 50, 58, 61, 72, 79,
Masking, 9, 14, 26, 33, 43, 48, 80,83,86,92, 110-111,115, cascading, 120-121
85, 104, 107, 110, 124
50-53, 56, 58, 65, 74, 86, 89, 119, 121, 123 techniques using, 14, 17, 21,
Dry brushing, 13, 22, 50-51, 56,
105-106, 114, 123-124 Sponging, 9, 15,50, 115, 118 27, 30, 83, 123
65, 72-73, 85
Mice, 72 Squirrels, 36-37, 72, 117 Watercolor techniques, 13
Moose, 17 Stippling, 11,22-23,27-29,31, Wavy Hnes, 11,24,82,98
Eyes, 41, 73, 125 Moss, 21, 118, 120 33, 35, 40-41, 43-44, 48, Wetlands, 95
Mountains, 113-127 50-52, 63, 66, 78, 86, 99- Wet-on-wet, 13, 21, 24, 40, 46,

Feathers, 11,97-98, 125-127 Mushroom, 16, 26, 30 100,102,104,110-111,114, 54, 65, 68, 74, 97, 105,
Ferns, 22-23, 25, 118 Muting, 20, 100-101, 105 118, 126 122-123

128
ART TECHNIQUE

Painting Nature in Pen & Ink with Watercolor

Celebrate nature's beauty in pen, ink and watercolor with Claudia

ifuM. ifnj craUwrstrt.
Nice as your guide. With Claudia's clear, friendly step-by-step faimC til. eastern'
i net

instruction, you'll feel like you're right there with her, painting hit

quiet forest scenes, coral reefs teeming v^^ith color, prairies, deserts, itIamiinMrs
6u/rro<iJ fuitr

ponds and mountains... six ecosystems in all.

uuCrottefl tupcd.

This book is packed with step-by-step demonstrations — birds,

TTosc UrresiTitU/
/ pmdCsMkfv
fish, shells, rocks, butterflies and so much more — leading to full-
fiiiiiiijaud'i'JiK'hL
length projects alive with the beauty and joy of nature. Look inside

and you'll see why thousands of artists have found Claudia's instruc- todun..

tion both enlightening and inspiring.

31193